
Copyright^ 



COPYRIGHT DEPOSIT 



This is one of an edition of two hundred and fifty 
copies printed from type for the Dunlap Society in the 
vear nineteen hundred and two. 




PLAYS 
OF THE PRESENT 

BY 

JOHN BOUVE CLAPP 

AND 

EDWIN FRANCIS EDGETT 




NEW-YORK 

THE DUNLAP SOCIETY 

1902 



THE LIBRARY OF 

CONGRESS, 
Two Cop.es Received 

AUG. 25 1902 

Ooo^HIOHT ENTRV 

YVLtUA iS-iqOT- 
CLASS^XXc. No. 



L 



3 i. * ") * 

COPY A. 







Copyright by 

John Bouve Clapp 

and 

Edwin Francis Edgett 

1902 



PREFACE AND REVIEW 

The first series of fifteen books issued by the Dun- 
lap Society from 1886 to 1891 was suspended in 
the latter year, owing to the lamented loss of some 
of its most earnest workers and to onerous duties 
in other fields of literature preventing the labors 
of others. It was found impossible to replace 
Edwin Booth, Thomas J. McKee, Harry Edwards, 
Brander Matthews, Laurence Hutton, John H. V. 
Arnold, and William Carey. 

The second series also exhausted its most active 
laborers and closed with the past year, having 
issued the same number of volumes between the 
years 1896 and 1901, leaving in the careful hands 
of Treasurer Daniel Frohman a goodly balance in 
cash received from subscribers, sales of back num- 
bers, etc., which has been expended, by general 
desire, in the present "extra volume." 

For this, a fitting appendix to the valuable set 
of "Players of the Present," by the same authors, 
we are indebted to the laborious care of John 
Bouve Clapp and Edwin Francis Edgett, to whom, 



viii $refafe anti ftetoieto. 

with William Winter, William L. Keese, and other 
well-known writers, the society is under serious 
obligations. 

Neither in the "Players" nor the "Plays" has 
any invidious distinction been made, nor any at- 
tempt to criticize or eulogize the authors or actors, 
the intention being simply to give such accessible 
biographies or accounts as will be of service for 
their accuracy and of interest to the members. 

This volume has grown largely through re- 
searches among play-bills and books in the prepa- 
ration of newspaper notices of the various plays 
that have been seen on the American stage during 
the last half century. It was originally intended 
to include such plays as "Uncle Tom's Cabin," 
"Camille," "Don Caesar de Bazan," "East Lynne," 
and others which even at present are frequently 
repeated, but comprehensive accounts of them 
would have far outrun the limits of the present 
volume. This will be seen by referring to the ar- 
ticles within describing "Caste" and "Still Waters 
Run Deep," which, even in their final shape, are 
as brief as possible. No attempt at a complete 
record of plays has been undertaken, for such a 
plan would require dozens of volumes of this size. 

These limitations also preclude the possibility 
of mentioning many plays of the present day, such 
as "The Lost Paradise," "D'Arcy of the Guards," 
"Charley's Aunt," "Madame Sans Gene," "Shore 
Acres," and "Lovers' Lane." 



preface an& ftrtucto. 



IX 



It is hoped that the selection, limited as it neces- 
sarily is, will be found interesting, and the thirty- 
four character portraits, artotyped by the Bier- 
stadt process, acceptable to the members of the 
Dunlap Society. 

Douglas Taylor. 



$iapj3 of tf)e present* 



The Adventure of Lady Ursula, a romantic 
comedy in four acts by Anthony Hope, was pro- 
duced by Edward H. Sothern at the Broad Street 
Theatre, Philadelphia, on December 6, 1897. The 
cast: 

Sir George Sylvester E. H. Sothern. 

The Earl of Hassenden Roydon Erlynne. 

The Rev. Mr. Blimboe Owen Fawcett. 

Mr. Dent Morton Selten. 

Mr. Castleton Arthur R. Lawrence. 

Mr. Robert Clifford Marshall Stedman. 

Mr. Ward Daniel Jarrett. 

Mr. Devereux George E. Bryant. 

Quilton Rowland Buckstone. 

Mills C. P. Flockton. 

Servant John J. Collins. 

Footman Norman Parr. 

Miss Dorothy Fenton Rebecca Warren. 

Mrs. Fenton Kate Pattison-Selten. 

The Lady Ursula Barrington . . . Virginia Harned. 

The essence of "The Adventure of Lady Ur- 
sula" is purely romantic, its story entrancingly in- 
teresting, and the manner of telling as logical as it 
is amusing. Its plot deals with the romantic esca- 



2 $iap£ of tf)e $re£cnt. 

pade of a young lady of fashion in the early part 
of the eighteenth century, its scene is laid in Lon- 
don, and the time of the action is condensed within 
the hours of four o'clock in the afternoon of an Oc- 
tober day and one o'clock the next morning. The 
important characters are two in number — Lady Ur- 
sula Barrington and Sir George Sylvester — and 
they carry the entire burden of the play on their 
shoulders. There is no underplot ; the action moves 
swiftly and steadily toward a single goal ; the inter- 
est is sustained and the suspense active until the 
fall of the final curtain. Two of the classic unities 
— the two most important ones, be it noted — are 
preserved, and to that fact is due the intensity of 
the story and the rapidity of the action. 

During the remainder of the season of 1897- 
1898 "The Adventure of Lady Ursula" was played 
in Boston, Chicago, Washington, and other lead- 
ing theatrical centres. It did not reach New York 
until September 1, 1898, when, at the Lyceum 
Theatre, Mr. Sothern began his annual metropoli- 
tan engagement, the cast being identical with that 
of the opening performance in Philadelphia. 

At the Duke of York's Theatre, on October II, 
1898, "The Adventure of Lady Ursula" was 
played for the first time in London, Herbert War- 
ing appearing as Sir George Sylvester and Evelyn 
Millard as Lady Ursula Barrington. It was as well 
received in England as in this country, and has 
been frequently revived. 




VIRGINIA HARNED. 

As Lady Ursula. 



$Iapg of tfje $te$tnt. 3 

L'Aiglon, a drama in six acts by Edmond Ros- 
tand, was produced at the Theatre Sarah Bern- 
hardt in Paris on March 15, 1900, with Bernhardt 
in the title role, Guitry as Flambeau, Calmettes as 
Metternich, and Maria Legault as Marie Louise. 
The American rights were immediately secured by 
Charles Frohman, a translation was made by Louis 
N. Parker, and the first performance in America 
was given at the Academy of Music, Baltimore, on 
October 15, 1900, with Maude Adams in the title 
role, J. H. Gilmour as Flambeau, Edwin Arden as 
Metternich, and Ida Waterman as Marie Louise. 
It opened in New York at the Knickerbocker Thea- 
tre on October 22, 1900, and was performed there 
and in other American cities throughout the season 
of 1900-1901. The first performance of the origi- 
nal version in this country was given at the Garden 
Theatre, New York, November 26, 1900, with 
Bernhardt in the title role, Coquelin as Flambeau, 
Desjardins as Metternich, and Madame Mea as 
Marie Louise. This was the beginning of the 
American starring tour of these celebrated French 
players, and "L'Aiglon" formed a prominent part 
of their repertory in New York and other cities. 

The Amazons, a farcical romance in three acts 
by Arthur W. Pinero, was produced at the Royal 
Court Theatre, London, March 7, 1893, under the 
management of Arthur Chudleigh, the cast being 
as follows : 



papg of ttye ^regent 



Galfred, Earl of Tweenwayes .... Weedon Grossmith. 

Barrington, Viscount Litterly Frederick Kerr. 

Andre, Count de Grival Mr. Elliott. 

Rev. Roger Minchin J. Beauchamp. 

Fitton W. Quinton. 

Youatt Compton Coutts. 

Orts R. Nainby. 

Miriam, Marchioness of Castlejor- 

dan Rose Leclercq. 

Lady Noeline Belturbet Lily Hanbury. 

Lady Wilhelmina Belturbet Ellaline Terriss. 

Lady Thomasin Belturbet Pattie Browne. 

"Sergeant" Shuter Marianne Caldwell. 

Although "The Amazons" preceded "The Sec- 
ond Mrs. Tanqueray" on the stage by over two 
months, it was really a later work, and was writ- 
ten by Mr. Pinero simply to indulge a playful 
fancy after his more serious efforts with the prob- 
lem drama. "The Amazons" ran at the Royal 
Court Theatre until July 8, 1893, when one hun- 
dred and eleven performances had been given, a 
record, however, which does not equal the achieve- 
ments of "The Magistrate," "The Schoolmistress," 
or "Dandy Dick." It was performed for the first 
time in America at the Lyceum Theatre, New 
York, under the management of Daniel Frohman, 
on February 19, 1894, and ran there for a period of 
over four months, the cast being : 

Galfred, Earl of Tweenwayes . . Ferdinand Gottschalk. 
Barrington, Viscount Litterly . . Herbert Kelcey. 

Andre, Count de Grival Fritz Williams. 

Rev. Roger Minchin Charles Walcot. 

Fitton Ernest Tarleton. 

Youatt Howard Morgan. 



$!ap£ of tfjc $re£enk 



Orts Robert Weed. 

Miriam, Marchioness of Castle- 

jordan Mrs. Charles Walcot. 

Lady Noeline Belturbet Georgia Cayvan. 

Lady Wilhelmina Belturbet .... Katharine Florence. 

Lady Thomasin Belturbet Bessie Tyree. 

"Sergeant" Shuter Mrs. Thomas Whiffen. 

The following season "The Amazons" was acted 
in the leading theatres of the United States by the 
Lyceum Company, for a part of the time Isabel 
Irving replacing Georgia Cayvan in the character 
of Lady Noeline. Another company, under the 
management of Charles Frohman, was organized 
to satisfy the public demand for Mr. Pinero's play 
during the winter of 1894-1895, and appeared in 
various American cities. The cast included Maude 
Odell as Lady Noeline, Elaine Eillson as Lady 
Wilhelmina, and Johnstone Bennett as Lady 
Thomasin. Since then "The Amazons" has been 
played at intervals in the English provinces, in 
Australia, and in America. 

The Ambassador, a comedy in four acts by John 
Oliver Hobbes, was produced at the St. James 
Theatre, London, on June 2, 1898, with the fol- 
lowing cast of characters : 

Lord St. Orbyn George Alexander. 

Sir William Beauvedere H. B. Irving. 

Vivian Beauvedere H. V. Esmond. 

Major Hugo Lascelles Fred Terry. 

Sir Charles de Lorme, G.C.S.I Arthur Royston. 

Lord Lavenstlwrpe Bertram Wallis. 

1* 



payg of tfje $regent. 



Lady Beauvedere Violet Vanbrugh. 

Juliet Gainsborough Fay Davis. 

Alice Gainsborough Miss W. Dolan. 

Lady Gwendolene Marlease Hilda Rivers. 

The Princess Vendramini Miss Granville. 

The Duchess of Hampshire Mrs. G. Kemmis. 

Lady Basler Kate Sargeantson. 

Lady Ullweather May Pardoe. 

Lady Vanringham Leila Repton. 

Mrs. Dasney Carlotta Nilsson. 

Mrs. Whitcombe J. Taylorson Frances Ivor. 

Miss Kate Taylorson Mary Jerrold. 

Miss Yolande Taylorson Imogen Surrey. 



"My plot is conditioned by character, as opposed 
to the characters being conditioned by incident," 
Mrs. Craigie remarked, after the production on the 
stage. "For my model I have gone to Moliere — 
the earlier Moliere, before he began to be didactic 
and wrote 'Tartuffe' and 'The Misanthrope.' I 
have endeavored to follow Pailleron, the author of 
'Les Cabotins' as well as 'Le Monde ou Ton s'en- 
nuie.' " In reply to a question as to her preference 
between the medium of the printed book and the 
medium of the acted play, Mrs. Craigie said : "Do 
you know that I have only written novels that I 
might write plays? Why not? This is the only 
country where one doubts the possibility of equal 
ease in the two mediums. Sudermann does both; 
look at Dumas, Octave Feuillet, George Sand — 
a prominent example — De Musset, and Balzac, 
though Balzac was not a great success as a play- 
wright." 

The American rights to "The Ambassador" hav- 



$iap£ of tfje $re£ent. 7 

ing been secured by Daniel Frohman, it was pro- 
duced in New York, at Daly's Theatre, on Feb- 
ruary 5, 1900, when the cast was : 

Lord St. Orbyn John Mason. 

Sir William Beauvedere Edward Morgan. 

Vivian Beauvedere William Courtenay. 

Major Hugo Lascelles Charles Walcot. 

Lord Lavensthorpe H. S. Taber. 

Lady Beauvedere Hilda Spong. 

Juliet Gainsborough Mary Mannering. 

Alice Gainsborough Grace Elliston. 

Lady Gwendolene Marleaze Elizabeth Tyree. 

The Princess V endramini Rhoda Cameron. 

Lady Basler Mrs. Walcot. 

Lady Ullweather Ethel Hornick. 

Mrs. Dasney Allison Skipworth. 

Lady Vanringham Eugene White. 

The Duchess of Hampshire Minnie Bowen. 

Mrs. Taylorson Mrs. Jackson. 

Miss Kate Taylorson Beatrice Morgan. 

Miss Yolande Taylorson Miss Kelleher. 

Mamie " Lewis. 

Sir Charles J. L. Weber. 

Lord Reggie A. S. Howson. 

In 1898 "The Ambassador" was published in 
New York by Frederick A. Stokes Company. 

Aristocracy, a drama in four acts by Bronson 
Howard, was produced at Palmer's Theatre, New 
York, on November 13, 1892. The cast was : 

Jefferson Stockton Wilton Lackaye. 

Virginia Stockton Viola Allen. 

Diana Stockton Blanche Walsh. 

Sheridan Paul Arthur. 

Mr. Hamilton Stuart Laurence. W. H. Thompson. 

Mrs. Laurence, nee Ten Broeck. Helen Tracy. 



8 pay£ of tlje $te£ait. 

Katharine Ten Broeck Lau- 
rence Josephine Hall. 

Stuyvesant Laurence S. Miller Kent. 

Prince Emil von Haldenwald . William Faversham. 
Octave, Due de Vigny-Volante. Frederic Bond. 
The Marquis of Normandale . . J. W. Pigott. 
The Earl of Caryston Leigh . . . Bruce McRae. 
Grimthorpe Henry W. Montgomery. 

"Aristocracy" lived on for several months at Pal- 
mer's Theatre, and then, after the customary tour 
through some of the larger cities of the United 
States, it passed out of public view, excepting only 
the occasional lease of life for a week or so which 
it receives at the hands of some obscure stock com- 
pany. A critic of the day remarked : "As every 
theatre-goer will probably, sooner or later, see 
'Aristocracy,' we will not rub the bloom off its 
plot by retailing it here. It is sufficiently lurid to 
satisfy the most exacting taste, and improbable 
enough to make even the amiable M. Sardou green 
with envy. It is cleverly enough worked out ; Mr. 
Howard is an old hand and knows his stage pass- 
ing well. There are, too, many bright spots in his 
dialogue — when he forgets for a moment his aspi- 
rations toward elegance, and lets his native wit 
speak. For Mr. Howard knows how to be witty, 
and in a dramatically effective way, too, although 
his sense of humor is somewhat feeble." 

Arizona, a drama in four acts by Augustus 
Thomas, was produced at Hamlin's Grand Opera 



pap£ of tfje $tt$mt. 9 

House, Chicago, on Monday, June 12, 1899. The 
cast: 

Henry Canby Theodore Roberts. 

Colonel Bonham Edwin Holt. 

Sam Wong ; Stephen French. 

Mrs. Henry Canby Mattie Earle. 

Estrella Bonham Mabel Bert. 

Lena Kellar Adora Andrews. 

Lieutenant Denton Robert Edeson. 

Bonita Canby Olive May. 

Miss MacCullagh Edith Athelstone. 

Dr. Fenlon Samuel Edwards. 

Captain Hodgman Arthur Byron. 

Tony Mostano Vincent Serrano. 

Lieutenant Hallock Franklin Garland. 

Sergeant Kellar Walter Hale. 

Lieutenant Young Lionel Barrymore. 

Major Cochran Menifee Johnstone. 

In "Arizona," Mr. Thomas added another to his 
series of plays named after the states, and in this 
instance the drama was so purely American in plot 
and action that the name was rightly applied. The 
piece, while essentially a melodrama, had enough 
of spontaneous national humor to give it at times 
a strong comedy flavor. While avoiding the crudi- 
ties of every-day life in a new state, the dramatist 
held the mirror up to nature in a manner that could 
only excite admiration for his artistic skill ; for 
although the play does not end conventionally, it is 
yet worked out to an ending that pleases the audi- 
ence, while at the same time it does no violence 
to the probabilities of the case. 

The original cast contained several names well 



io papg of tf>e $tegent. 

known on the American stage, and great attention 
was paid to the details of the production, the scen- 
ery being painted from photographs of the locali- 
ties in Arizona where the action took place, and 
even the supernumeraries, who were so prominent 
in several of the scenes, were carefully trained, so 
that nothing was wanting to make the production 
a success. An incident occurred the opening night 
which showed how carefully Mr. Thomas prepared 
his effects. Among the stage troops were two 
sturdy fellows who had marched to Cuba with one 
of the Chicago regiments, and their entrance was 
foretold by the playwright in a curtain speech 
shortly before they appeared. The stage soldiers 
were exactly military and correct until these tanned 
veterans of a month entered, bearing the indisput- 
able brand of discipline in the mock delivery of the 
real manual as demanded by the play. Three steps, 
a turn, machine exactness in handling the guns, 
and the unmistakable soldier carriage, and the au- 
dience broke into wild applause which stopped the 
play, for the American theatre-goer is fond of a 
real hero on the stage. 

The success of "Arizona" was immediate and 
genuine. It became evident at once that the drama- 
tist had found a theme that interested the public, 
and, after an extended engagement in Chicago, the 
play was brought East and, with a somewhat dif- 
ferent cast, was presented in Boston in the winter, 
where it ran for four weeks. Then it was seen in 
various cities, finally reaching New York in Sep- 



$Iap£ of tlje ^regent. 



ii 



tember of the following year, when it began an ex- 
tended engagement at the Herald Square Theatre. 
Meanwhile, several road companies were touring 
the country with the new play, and wherever it was 
presented its merit instantly appealed to theatre- 
goers. On February 3, 1902, it was brought out in 
London, its success there being assured when the 
king attended one of the first performances. The 
English critics declared it second only to "Secret 
Service," which had proved a great favorite in 
England, so that while "Arizona" cannot be called 
the best of Mr. Thomas's plays, it bids fair to be 
the most popular. 

L'Arlesienne of Alphonse Daudet, originally pro- 
duced at the Vaudeville, in Paris, October 1, 1872, 
was performed for the first time in America, in an 
English version by Charles Henry Meltzer, at the 
Broadway Theatre, New York, on March 22, 1897. 
Mr. Meltzer's version was in four acts, and the 
music by Georges Bizet, comprising overture, in- 
terludes, choruses, and melodramas, was performed 
by an orchestra under the direction of Anton Seidl. 
The rehearsals were directed by David Belasco and 
Eugene W. Presbrey, and the cast was : 

Rose Mamai Agnes Booth. 

Renaude Rose Rand. 

Vivette Mary Haines. 

*«■** *■* { $£%££*■ 

The Innocent Florence Thornton. 

Francet Mamai Augustus Cook. 



i2 $fap£ of tfje $rc£cnt. 



Balthazar Charles Kent. 

Mitifio Walter Craven. 

Marc Horace Lewis. 

Farm Hand Darwin Rudd. 

Frederi Mamai John E. Kellerd. 

The American public, or rather that section of it 
which makes up the average body of New York 
theatre-goers, found nothing to admire in the fine 
workmanship of Alphonse Daudet as shown 
through the excellent translation by Mr. Meltzer, 
and the piece was withdrawn after only a few per- 
formances. It has not since been revived. 

Arms and the Man, a romantic comedy in three 
acts by George Bernard Shaw, was produced at 
the Avenue Theatre, London, on April 21, 1894. 
For about ten years Mr. Shaw had been engaged 
on the London press successively as music, art, 
and dramatic critic, and during that period he had 
turned his hand to all sorts of literary work. 
"Arms and the Man" ran at the Avenue Theatre 
from April 21 to June 7, 1894. The cast of charac- 
ters was as follows : 

Major Paul Petkoff James Welch. 

Major Sergius Saranoff Bernard Gould. 

Captain Bluntschli Yorke Stephens. 

Major Plechanoff A. E. W. Mason. 

Nichola Orlando Barnett. 

Catherine Petkoff Mrs. Charles Calvert. 

Raina Petkoff Alma Murray. 

Louka Florence Farr. 

Although its scenes were laid in Bulgaria for the 
sake of giving a fantastic and picturesque atmo- 



$lapg of t$e $re£ent 13 

sphere, the play proved to be a keen and pungent 
satire upon modern English life. The general pub- 
lic, however, refused to take Mr. Shaw's humor 
seriously, and in consequence he contributed an 
essay to the "Fortnightly Review" explaining his 
motives in attempting so severe an arraignment of 
modern society. This did not suffice, and "Arms 
and the Man" has remained caviare to the general. 
Even William Archer, in spite of his personal 
friendship for Mr. Shaw, has not been able to ap- 
preciate the dramatist's view-point. "And amid all 
his irresponsible nonsense," he wrote, "he has con- 
trived, generally in defiance of all dramatic consis- 
tency, to drag in a great deal of incidental good 
sense. I begin positively to believe that he may 
one day write a serious and even an artistic play, if 
only he will repress his irrelevant whimsicality, try 
to clothe his character conceptions in flesh and 
blood, and realize the difference between knowing- 
ness and knowledge." 

"Arms and the Man" was presented by Richard 
Mansfield for the first time in the United States 
as the opening attraction at the Herald Square 
Theatre in New York on September 17, 1894, the 
cast of characters being as follows : 



Major Paul Petkoff Henry M. Pitt. 

Major Sergius Saranoff Henry Jewett. 

Captain Bluntschli Richard Mansfield. 

Nichola Walden Ramsay. 

Catherine Petkoff Mrs. McKee Rankin. 

Raina Petkoff Beatrice Cameron. 

Louka Amy Busby. 



i 4 $tap£ of tljc $tt$mt 

The character of Major Plechanoif does not ap- 
pear on the bills of any of Mr. Mansfield's per- 
formances, nor in the printed play, and was appar- 
ently cut out soon after the London production. 
The play was as great a puzzle as ever, and when 
taken to Boston actually deceived many otherwise 
astute people into thinking that its satire was di- 
rected solely against the real Bulgaria! It was 
performed at the Park Theatre on November 
19, 1894, the changes in the cast introducing 
A. G. Andrews as Major Paul Petkoff, W. N. 
Griffith as Nichola, and Katherine Gray as 
Louka. 

When Mr. Mansfield opened his Garrick Thea- 
tre in New York, on April 23, 1895, "Arms and the 
Man" was the attraction. Since then he has per- 
formed it occasionally, but unfortunately not as 
frequently as its brilliant merits deserve. In 1898 
Mr. Shaw's plays were published by Herbert S. 
Stone & Company, under the title "Plays Pleas- 
ant and Unpleasant." "Arms and the Man" ap- 
pears in the second volume, among the "pleasant" 
plays. 

Arrah-na-Pogue, or The Wicklow Wedding, a 
drama in five acts by Dion Boucicault, was origi- 
nally tried in Dublin in November, 1864, and then 
produced at the Princess's Theatre, in London, on 
March 22, 1865, with a cast made up of these noted 
actors : 



$Iap£ of tfje $re£ent» 15 

Shaun-the-Post Dion Boucicault. 

Colonel Bagenal O'Grady John Brougham. 

Beamish McCoul H. Vandenhoff. 

The Secretary David Fisher. 

Mr. Michael Feeny Dominick Murray. 

Fanny Power Pattie Oliver. 

Arrah Meelish Agnes Robertson. 

"Arrah-na-Pogue," "The Colleen Bawn," and 
"The Shaughraun" are Boucicault's greatest Irish 
plays, and it is a question whether "Arrah-na- 
Pogue" should be placed first or second. One of 
the chief attractions of the play on its first presen- 
tation was the author's excellent acting as Shaun- 
the-Post. Yet, when Boucicault translated it into 
French, and, under the title of "Jean la Poste, or 
Les Noces Irlandaises," it was brought out at the 
Theatre de la Gaiete, Paris, in the spring of 1866, 
it ran for one hundred and forty nights, which 
proved that the drama itself had wonderful draw- 
ing power. At the Princess's Theatre the play was 
an immediate success, running uninterruptedly for 
six months, and it was revived at the same theatre 
two years later, with Mr. and Mrs. Boucicault in 
their original characters, parts which afterward 
were played at the Adelphi Theatre in London by 
J. C. Williamson and Maggie Moore. Beamish Mc- 
Coul has always been a favorite character for ambi- 
tious actors, and in England has been taken by such 
players as William Rignold, G. F. Neville, Charles 
Glenney, and William Terriss. Indeed, the last- 
named actor got his foot on the first round of the 



1 6 papg? of rtje ^regent 

theatrical ladder through this particular play. In 
1867 he was hanging about the Prince of Wales's 
Theatre in Birmingham, where James Rodgers, a 
player well known in the English provinces, was 
acting Shaun-the-Post, though, owing to his im- 
mense proportions, he experienced considerable dif- 
ficulty in carrying out some of the scenes. Terriss 
made his acquaintance, and as the result of the 
former's expressed determination to go upon the 
stage, Rodgers deputed him to make up in Shaun- 
the-Post' s costume and play his double in the ivy- 
covered tower scene. This young Terriss did with 
so much earnestness that he was honored with a 
curtain-call. 

Among English actors who have been seen as 
Colonel O' Grady are George Vining, Samuel Em- 
ery, and Henry Neville, while Shiel Barry and 
Robert Pateman have often played Michael Feeny. 
Fanny Power is popular with young actresses, and 
on the London stage has been done by Fanny 
Hughes, Cissy Grahame, Amy Roselle, and Miss 
Hudspeth. The piece always draws well in Lon- 
don, and in one of its last revivals there Ellaline 
Terriss acted Arrah Meelish and Arthur Dacre 
Beamish McCoul, while the minor parts were taken 
by such actors as Bassett Roe, for some time a 
member of Julia Marlowe's company, and Henry 
Bedford, who starred in this country in the melo- 
drama of "A Grip of Steel" during the season of 
1898-1899. 



$Iapg of tfje $re£cnt. 1 7 

Boucicault brought out "Arrah-na-Pogue" in 
New York on July 10, 1865, a little more than a 
year after its production in London. It shows 
what a decided change has taken place in the limits 
of the theatrical season, and that the prejudice 
against "summer shows" is of comparatively re- 
cent origin, when less than two score years ago 
Boucicault, shrewdest of stage producers, had no 
hesitancy in giving a summer production of one of 
the greatest theatrical successes of his generation. 
On this side of the water the play has been given 
so often that almost every American player of 
prominence has been at one time or another in the 
cast, although no one has ever succeeded in better- 
ing the part which the author created. Among 
others who have been especially successful in the 
piece are W. E. Sheridan, whose Colonel O'Grady 
was a fine characterization; H. F. Daly, who was 
always well received in the small part of the Ma- 
jor; and John Mason, who proved a capital Secre- 
tary. Boston playgoers will always remember with 
pleasure the Colonel O'Grady of the famous actor 
who for so many years honored the Museum with 
his presence — the great William Warren. 

LArticle 47, a drama by Adolphe Belot, was 
produced at the Ambigu Comique in Paris, on 
October 20, 1871. It was brought out with great 
care and with a lavishness of expense which made 
it at once an artistic and a financial success. 



1 8 $fapg of tfje $tt$mt. 

Georges Duhamel was played by Regnier, Cora by 
Mile. Rousseil, and Marcelle by Mile. Grandet. Its 
fame was not long in crossing the ocean. Augustin 
Daly had just begun his third season as manager 
of the Fifth Avenue Theatre in New York, and 
he immediately secured the rights to Belot's drama. 
It was translated at once, and on April 2, 1872, 
"Article 47" was produced for the first time in the 
United States at Mr. Daly's theatre, with the fol- 
lowing cast : 

Count de Rives G. H. Griffiths. 

President of the Court D. H. Harkins. 

Dr. Combes William Davidge. 

Henri Delille Louis James. 

Georges Duhamel Henry Crisp. 

Victor Mazillier George Parkes. 

Potain James Lewis. 

Old Simon W. J. Le Moyne. 

Chatelard Owen Fawcett. 

Foreman of Jury J. H. Burnett. 

Baroness de Mirac Fanny Davenport. 

Cora Clara Morris. 

Mme. Duhamel Mrs. G. H. Gilbert. 

Marcelle Linda Dietz. 

Although Clara Morris had made more than one 
emphatic success as a member of Mr. Daly's com- 
pany, her acting of Cora created a sensation of al- 
most unparalleled magnitude. Making her first 
appearance in New York in a dramatization of Wil- 
kie Collins's "Man and Wife," she had shown both 
critics and public that, in spite of what some called 
the "crudeness" of her acting, she had merit, and 
merit that could easily be brought out by time and 



$Iap£ of tfje $ttgtnt. 19 

training. As soon as she was given the part of 
Cora in "Article 47," she resolved to do all that was 
possible toward a correct interpretation of the char- 
acter. She studied the subject of insanity from 
medical books ; she visited asylums for practical 
illustrations of it. She practised falls such as she 
had never made before, and thought out how she 
should occupy herself upon the stage during a 
long period in which she had little to say, but a 
great deal to suggest. 

On the opening night she was fully prepared to 
play Cora with all her heart and soul. She gave 
herself up to the character, and the mad scene, with 
the scream and final fall, fairly electrified the audi- 
ence. Mr. Daly, who was watching her at the 
wings, rushed forward to raise her to her feet and 
found her half insensible, with blood flowing from 
her wrists, which had been terribly lacerated by 
her bracelets as she had flung herself on the stage 
with reckless abandon. The next day her imper- 
sonation was the talk of the town; all New York 
flocked to see her ; in a night she had made a repu- 
tation. 

When Miss Morris began her starring tours a 
few years later, "Article 47" was made a leading 
feature of her repertory, and remained so until 
her retirement from the stage. 

At the White Horse Tavern, a comedy in three 
acts adapted by Sydney Rosenfeld from the Ger- 



20 pap£ of tfje $rc£cnt 

man of Oscar Blumenthal and Gustave Kadelburg, 
was produced at Wallack's Theatre in New York 
on February 6, 1899. In its original form, "Im 
Weissen Roess'l" was such a success in Germany 
and Austria that its authors wrote a sequel, "Wie- 
der Im Weissen Roess'l" ("At the White Horse 
Tavern Again"), which did not prove a success 
when adapted to the American stage. The Ger- 
man play was first seen in this country at the Irv- 
ing Place Theatre in New York on November 14, 
1898. The cast at Wallack's Theatre was as fol- 
lows: 



William Giesecke Harry Harwood. 

Charlotte Eva Vincent. 

Ottilie Miriam Nesbitt. 

Frederick Siedler Joseph Holland. 

Arthur Sutro Leo Dietrich stein. 

Walter Hinzelmann, Ph.D Felix Morris. 

Clara Ruth Berkeley. 

Josepha Amelia Bingham. 

Leopold Brand Frederic Bond. 

Loidl Dore Davidson. 

Rest Elizabeth Mayhew. 

Doctor Bernbeck Douglas J. Wood. 

Emily Bernbeck Britta Marti Griffin. 

Old Lady Schmidt Eva Aberle. 

Melanie Schmidt Sadie Lauer. 

Old Cracker David Elmer. 

A Mountain Tourist Charles Marshall. 

Traveler No. 1 Foster Lardner. 

Traveler No. 2 James P. Corr. 

Kathi Nellie Butler. 

Franz Charles Halton. 

Piccolo Louis Albion. 

Lena Anne Singleton. 

Mali Eleanor Ritsoe. 

Martin John Maguire. 



papg of tfje $tt$mt. 2 1 

Joseph William Murphy. 

Porter R. Smiley. 

Captain of Steamboat Mayton Joseph. 

Ticket Taker Edwin Lloyd. 

Sepp F. Reynolds. 

"At the White Horse Tavern" is one of those 
bright German comedies, verging on farce, which 
can be faithfully translated and retain the humor 
of the original, or adapted, with its scenes and char- 
acters changed, and as completely spoiled as are 
many of the German plays presented on our stage. 
Mr. Rosenfeld succeeded in retaining the spirit of 
the original remarkably well ; once or twice he in- 
troduced an up-to-date English expression which 
sounded out of place, but the characters were so 
well drawn and the dialogue so bright that the few 
lapses were easily overlooked. The well-defined 
plot was worked out consistently and logically, the 
characters were introduced naturally, not forced 
into the action of the piece, and if the playwright 
had only given some hint as to the cause of the 
disappearance of Charlotte, the sister of Giesecke, 
who was introduced in the first act and then im- 
mediately dropped, the play would have been well 
nigh flawless. Mr. Rosenfeld erred on the safe 
side in not trying to improve on the German play, 
and kept some names of people and places, regard- 
less of the fact that a German pun would be lost 
on an American audience. 

Many of the original cast, including Harry Har- 
wood, Joseph Holland, Felix Morris, and Amelia 



2 



* 



22 $top£ of tfje $tc$mt. 

Bingham, dropped out after the play had started 
on its travels. All of those named were seen to 
good advantage in it, and among others who were 
especially fortunate in pleasing the public were 
Miss Keim, Mr. Bond, Mr. Dietrichstein, and Mr. 
Summerfield. The last named gave a unique char- 
acter study of an old doctor of philosophy which 
was delightful in its simplicity, succeeding Mr. 
Morris. Among those who were prominent in the 
company after it had been somewhat changed was 
Anne Sutherland, who played the plump and pleas- 
ing hostess so well that her acting of the part be- 
came the standard by which all others who fol- 
lowed her were judged. The play not only proved 
popular as presented by the Frohmans, but the 
stock companies in the cities throughout the coun- 
try have given it with equal success. 

A Bachelor's Romance, a comedy in four acts 
by Martha Morton, was produced at Wilkesbarre, 
Pennsylvania, on September 17, 1896. The play 
was written for Sol Smith Russell, and after being 
tried in the smaller towns which theatrical man- 
agers like to visit before offering their wares in the 
large centres, was given at the Tremont Theatre 
in Boston on April 12, 1897, with the following 
cast: 

David Holmes Sol Smith Russell. 

Gerald Holmes Arthur Forrest. 

Martin Beggs George W. Denham. 



papg of tfje $tz$mb 23 



Mr. Savage George Alison. 

Harold Reynolds Arthur Hoops. 

Mr. Mulberry Alfred Hudson. 

James George Cooke. 

Sylvia Bertha Creighton. 

Helen LeGrand Beatrice Moreland. 

Harriet Leicester Gertrude Rivers Alison. 

Miss Clementina Fanny Addison Pitt. 



The part of David Holmes naturally fitted Mr. 
Russell well, for the playwright had simply drawn 
a quaint character that the actor could easily im- 
personate, the humor and the pathos being equally 
divided. The part did not call for any special ef- 
fort on Mr. Russell's account, as he had created 
far more effective characters. Yet it pleased the 
public, and remained in his repertory during the 
season. At the beginning of the following season, 
on September 20, 1897, he gave it at the Garden 
Theatre for the first time in New York, the cast 
being- as follows : 



David Holmes Sol Smith Russell. 

Gerald Holmes Orrin Johnson. 

Martin Beggs William Sampson. 

Mr. Savage William Seymour. 

Harold Reynolds Sydney Booth. 

Mr. Mulberry Alfred Hudson. 

James George Cooke. 

Sylvia Annie Russell. 

Helen Le Grand Blanche Walsh. 

Harriet Leicester Margaret Robinson. 

Miss Clementina Fanny Addison Pitt. 



After that the stock companies seized upon it, 
and it was repeated with good success throughout 



24 Pap£ of rtje ^regent. 

the country. It reached London a little later, and 
on January 8, 1898, was brought out at the Globe 
Theatre there by John Hare with satisfactory re- 
sults, the English public considering it amusing 
and clever. 



Barbara Frietchie, a play in four acts by Clyde 
Fitch, was produced at the Broad Street Theatre, 
Philadelphia, on October 11, 1899. The cast was 
as follows: 



Barbara Frietchie Julia Marlowe. 

Sally Negley Katherine Wilson". 

Sue Royce Norah Lamison. 

Laura Royce Mary Blyth. 

Mrs. Hunter Annie Clarke. 

Mammy Lu Alice Leigh. 

Captain Trumbull J. H. Gilmour. 

Mr. Frietchie George Woodward. 

Arthur Frietchie Lionel Adams. 

Colonel Negley W. J. Le Moyne. 

Jack Negley Arnold Daly. 

Fred Gelwix Dodson Mitchell. 

Tim Green Becton Radford. 

Edgar Strong Donald MacLaren. 

Dr. Hal Boyd Algernon Tassin. 

Sergeant James Frank Colfax. 

Corporal Perkins Ralph Lewis. 

Orderly H. Phillips. 

A Boy Byron Ongley. 



On October 23 following, it began a long New 
York run at the Criterion Theatre, the cast dupli- 
cating that already given. It was used by Miss 
Marlowe on the road and in the leading cities of 



$lap£ of tfje $regmt. 25 

the United States until the middle of the season of 
1900-1901, when it gave way to "When Knight- 
hood was in Flower." During the season of 1900- 
190 1 it was presented at the Academy of Music in 
New York and elsewhere, with Effie Ellsler in the 
title role. 

The Bauble Shop, a comedy in four acts by 
Henry Arthur Jones, was produced at the Crite- 
rion Theatre, London, on January 26, 1893, with 
Charles Wyndham as Viscount Clivebrooke, Mary 
Moore as Jessie Keber, and W. D. Day as Matthew 
Keber. It ran continuously until June 14, and 
since then has received only occasional perform- 
ances in the English provincial playhouses. It has 
never been revived in a London West End thea- 
tre. The political atmosphere of "The Bauble 
Shop" at first caused both critics and public to hunt 
with the most penetrating searchlight for the mag- 
nate or magnates at whom its satirical shafts were 
aimed. It did not take long, however, to discover 
that Mr. Jones had not been writing a specific dra- 
matic exposition of contemporary political morals 
— or immorals — and that if "The Bauble Shop" 
bore any reference to the conditions of English 
social and political life, it must be accepted purely 
as a glittering generality. Its hero was a coward 
who allowed himself to be browbeaten by a stern 
moral censor who was half a hypocrite, and for 
that reason the play naturally did not win the com- 



26 papg of tfje $rcgent 

plete sympathy of the public. William Archer 
summed up his feelings by saying that for two 
acts and a half he waited longingly and vainly to 
hear Viscount Clivebrooke say to Mr. Stoach,M.P., 
"Go to the devil!" And a writer in "The Satur- 
day Review" said : 

"There never was, and there is comfort in the 
thought that there never can be, such a leader 
of the House of Commons as Lord Clivebrooke. 
Even if he were possible, such a tenth-rate amou- 
rette as Mr. Jones attributes to him could not tempt 
him from his duties in the middle of the session. 
We may take the almost incredible innocence of 
the toymaker's daughter for granted, in order to 
help the romantic dramatist; but when the author 
withdraws the busy party leader from the House 
for two hours a night every other night during a 
month to indulge in what nearly approaches a 
vulgar intrigue, we are entitled to ask what is 
the writer's estimate of our intelligence. The 
curiously ignoble baseness of Clivebrooke is 
nearly as incredible as is the girl's ignorance of 
evil and its outward semblance. Take it which 
way we will, as romantic or realistic drama, 
the objections are equally obvious and equally 
vital." 

"The Bauble Shop" was secured by John Drew, 
and was brought out at the Empire Theatre in New 
York on September II, 1894, with the following 
cast: 



papg of tfje $tt$mt. 27 



Viscount Clivebrooke John Drew. 

The Earl of Sarum, his father .... C. Leslie Allen. 

Hon. Charles Teviot Arthur Byron. 

Sir John Stradebroke Guido Marburg. 

Mr. Stoach, M.P Harry Harwood. 

Mr. Piers Bussey, M.P Frederick Strong. 

Ireson Lewis Baker. 

Matthew Keber J. E. Dodson. 

Mr. Body Robert Cotton. 

Mr. Mints Joseph Humphreys. 

Bence Frank E. Lamb. 

Gussie Agnes Miller. 

Lady Kate Ffennell Elsie De Wolfe. 

Lady Bellenden Kate Meek. 

Jessie Keber Maude Adams. 

A German version by Oscar Blumenthal, called 
"Die Sittenrichter," was produced at the Lessing 
Theater in Berlin in August, 1894. 



Beau Brummel, a comedy in four acts by Clyde 
Fitch, was produced at the Madison Square Thea- 
tre, New York, May 17, 1890, the leading charac- 
ters being cast as follows : 

The Prince of Wales D. H. Harkins. 

Lord Manly J. B. Buckstone. 

Richard Brinsley Sheridan . . A. G. Andrews. 

Mr. Brummel Richard Mansfield. 

Reginald Courtney Frank Lander. 

Mortimer W. J. Ferguson. 

Mr. Oliver Vincent W. H. Crompton. 

Mariana Vincent Beatrice Cameron. 

Kathleen Miss Johnstone Bennett. 

The Duchess of Leamington . Mrs. Julia Brutone. 

Lady Farthingale Helen Gliddon. 

A French Lodging-house 

Keeper Miss Leigh. 

Mrs. St. Aubyn Adela Measor. 



28 $Iapg of ttye $«£cnt 

Soon after the production of "Beau Brummel" 
a controversy arose over its authorship between 
Mr. Fitch, Mr. Mansfield, and William Winter. 
The matter was thoroughly ventilated in letters to 
the public press, the following being an extract 
from a letter written by Clyde Fitch, under date 
of April ii, and published in the New York "Tri- 
bune" on April 13, 1891 : "The idea of a play on 
Beau Brummel is, I believe, Mr. William Winter's. 
The execution of that play — Mr. Winter claims 
it has been an execution in more senses than one — 
some of the business, and the great bulk of the 
dialogue is mine. The artistic touch, some of the 
lines in the comedy, not the most important ones, 
and the genius that has made it a success are Mr. 
Mansfield's." 

As acted by Mr. Mansfield, Beau Brummel has 
become one of the most notable characters of the 
contemporary stage. It has held a prominent place 
in his repertory ever since its first production, 
and while it has not the sensational qualities of 
Baron Chevrial or the dual Dr. Jekyll-Mr. Hyde, 
it may fairly be set down as the best and in cer- 
tain ways the most popular of all his impersona- 
tions. 

Beaucaire, a comedy in five acts adapted by Booth 
Tarkington and Evelyn Greenleaf Sutherland from 
the former's romance "Monsieur Beaucaire," was 
produced by Richard Mansfield at the Garrick 



pap£ of tfje $re£ent» 29 

Theatre in Philadelphia on October 7, 1901. The 
cast: 

The Duke of Winterset Joseph Weaver. 

The Marquis de Mirepois . . . Charles James. 

Lord Townbrake Arthur Berthelet. 

Sir Hugh Guilford R. A. Geldart. 

Beau Nash Alexander Frank. 

Monsieur Beaucaire Richard Mansfield. 

Mr. Molyneux A. G. Andrews. 

Mr. Bantison M. A. Kennedy. 

Mr. Rakell Ernest Warde. 

Mr. Bicksett James L. Carhart. 

Captain Badger Joseph Whiting. 

Joliffe J. Palmer Collins. 

Frangois Henry Laurent. 

Lady Mary Carlisle Lettice Fairfax. 

Countess of Greenbury Sydney Cowell. 

Mrs. Mabsley Ethel Knight Mollison. 

Lucy Rellerton Dorothy Chester. 

Mrs. Llewellyn Myra Brooks. 

Lady Betsey Carmichael Irene Prahar. 

Miss Markham Kathleen Chambers. 

Mon. Ida Fairleigh Chalis Winter. 

Mrs. Purlit Margaret Dills. 

Miss Paitelot Margaret Kenmore. 

Miss Presby Adele Claire. 

The brevity of Mr. Tarkington's romance made 
it necessary to employ much new and original mat- 
ter in the writing of a play based upon it. In the 
main, however, the play follows the general lines 
of the romance, the ending being the most impor- 
tant change. On the 21st of October, "Beaucaire" 
began an engagement of two weeks at the Colo- 
nial Theatre in Boston, and on December 2 it was 
performed at the Herald Square Theatre in New 
York, where it ran the remainder of the season. 



3 o $fop£ of tfie $tt$tnt 

Because She Loved Him So, a farce in three acts 
adapted by William Gillette from the French of 
Alexandre Bisson and Henri Leclercq, was pro- 
duced at the Hyperion Theatre in New Haven, 
Connecticut, on October 28, 1898, with the follow- 
ing cast: 

Oliver West Edwin Arden. 

John Weatherby J. E. Dodson. 

Thomas Weatherby Arnold Daly. 

Edward Marsh William B. Smith. 

Rev. Lyman Langley Charles R. Gilbert. 

Albert Pritchard W. J. Constantine. 

Mr. Jackson Charles Eldridge. 

Mr. Breslin Roy Fairchild. 

Gertrude West Ida Conquest. 

Mrs. John Weatherby Kate Meek. 

Donna Adelina Gonzales Leonora Braham. 

Margaret Margaret Fielding. 

Susan Margaret Mayo. 

Miss Julie Langley Edythe Skerrett. 

Mrs. Jackson Bijou Fernandez. 

Mr. Gillette's adaptation proved less pretentious 
than the majority of the work that he had pre- 
viously done for the stage, for it was simply a new- 
version of the old story of the matrimonial infelic- 
ities of a young couple who are brought to their 
senses through the interference of the aged father 
and mother of the bride, who have never had a diffi- 
culty with each other in thirty years, but who quar- 
rel frightfully before the young people are finally 
reconciled. The original play was entitled "Ja- 
lousie," and an adaptation called "The Dove Cote" 
was brought out in London and had a long run. 



$lapg of ttjc $te$mt. 3* 

In the French play there were situations that were 
somewhat indelicate, and some of the dialogue was 
free, but Mr. Gillette accomplished a most com- 
mendable feat in transferring the piece to the 
American stage without a suggestive line or scene, 
and yet succeeding in keeping up the interest in 
the story. The farce was given under the manage- 
ment of Charles Frohman, who provided a cast 
which would have insured the success of a play of 
far inferior merit. 

The special feature of the excellent company 
was Mr. Dodson, whose impersonation of the 
good-hearted, genial John W eatherby was one of 
the finest characterizations that the stage had seen 
in this generation. In the art of make-up, this 
actor is confessedly a master, and in this part he 
showed his wonderful skill, every detail being per- 
fect. But his acting proved his power as a fin- 
ished and intelligent player, and gave him at once a 
place among American actors — for such he should 
now be considered — that years of conscientious 
work had not won for him. All the other players 
appeared to good advantage, and it was thought 
at the time of the production that no farce had 
been given for a decade with so many good actors. 
The next year Francis Carlyle took Mr. Ar- 
den's place, Ralph Dean succeeded Mr. Daly, 
Annie Irish replaced Miss Conquest, and there 
were other minor changes in the cast. The farce 
has proved popular with the stock companies 



32 $fop£ of tfje $tt$mt 

throughout the country, and there have been sev- 
eral notable players seen in it at the local houses. 

Becky Sharp, a dramatic version by Langdon 
Mitchell of scenes from Thackeray's "Vanity 
Fair," was produced by Mrs. Fiske at the Fifth 
Avenue Theatre, New York, on September 12, 
1899, with the following cast : 

The Marquis of Steyn Tyrone Power. 

Sir Pitt Crawley, Bart Robert V. Ferguson. 

Pitt Crawley Charles Plunkett. 

Rawdon Crawley Maurice Barrymore. 

William Dobbin Wilfrid North. 

George Osborne Stanley Rignold. 

Joseph Sedley William F. Owen. . 

Major Loder E. L. Walton. 

Lord Bareacres W. L. Branscombe. 

Lord Tarquin Frank Reicher. 

Becky Sharp Mrs. Fiske. 

Amelia Sedley Zenaide Williams. 

Miss Crawley Ida Waterman. 

The Marchioness of Steyn Jean Chamblin. 

Lady Bareacres Francesca Lincoln. 

Lady Blanche Thistlewood Olive Hoff. 

Lady Jane Crawley Leonora Stonehill. 

"Becky Sharp" was continued at the Fifth Ave- 
nue Theatre for several months ; during the re- 
mainder of the season of 1 899-1 900, and also dur- 
ing the following season, it was played by Mrs. 
Fiske and her company throughout the United 
States. Augustus Cook and Charles Vane suc- 
cessively replaced Tyrone Power as Lord Steyn, 
Frank Gilmore succeeded Maurice Barrymore as 
Rawdon Crawley, and Alfred Hudson, during the 



pap£ of tfjc $tt$cnu 33 

second season, acted Joseph Sedley in place of 
William F. Owen. A contemporary criticism of 
Mrs. Fiske's impersonation of Becky Sharp reads 
thus : "In praising Mr. Mitchell's sketch of Becky, 
I have perhaps been unconsciously paying a tribute 
to Mrs. Fiske's presentation of it, for when the 
actor is wedded to the part it is not easy to dis- 
tinguish. With the range of Mrs. Fiske's capa- 
bility — from the gay Cyprienne in "Divorcons" to 
Tess and the invalid heroine of "Love Finds the 
Way" — we are all tolerably familiar, but never be- 
fore has she had a part that shows us so fully the 
scope of it. Nothing could be lighter and more 
brilliant than Becky in her happier moments ; if 
any jot of charm was absent, the fault was not 
with Mrs. Fiske's intention, nor with her skill and 
intellectual vivacity in making this felt, but with 
the insurmountable limits of physique, which it is 
uncritical as well as ungrateful to hold against any 
real artist. In the more serious phases, the effect 
seemed to me consummate." 

Another version of "Becky Sharp" was played 
for a time, with Miss Gertrude Coghlan in the 
leading role, during the season of 1 900-1901, but 
it resembled Mr. Mitchell's version so closely that 
an injunction was secured against its further per- 
formance. Two versions were also given in Eng- 
land in 1901. The first, by David Balsillie, was 
produced at the Theatre Royal, Croydon, on June 
24, with Annie Hughes in the title role ; the second, 

3 



34 Pap£ of tije $re£ent. 

by Robert Hichens and Cosmo Gordon Lennox, 
at the Prince of Wales's Theatre, London, on 
August 27. 

The Bells, a melodrama in four acts adapted by 
Leopold Lewis from "Le Juif Polonais" of Erck- 
mann-Chatrian, was produced at the Lyceum Thea- 
tre, London, on November 25, 1871, the cast being 
as follows : 

Mathias Henry Irving. 

Walter Frank Hall. 

Hans F. W. Irish. 

Christian H. Crellin. 

Mesmerist A. Tapping. 

Doctor Zimmer Mr. Dyas. 

Notary " Collett. 

Tony " Fredericks. 

Frit2 " FOTHERINGHAM. 

Judge of the Court Gaston Murray. 

Clerk of the Court Mr. Branscombe. 

Catherine Miss G. Pauncefort. 

Annette Fanny Heywood. 

Sozel Helen Mayne. 

"Le Juif Polonais," although written in dramatic 
form, was not originally intended for stage repre- 
sentation. It was produced in Paris at the Theatre 
Cluny in 1869, when the part of Mathias was 
played by M. Talien, an actor of rare individuality 
and great power. He did not in the earlier mo- 
ments of the play suggest, as did Irving, the crime 
with which his soul was burdened, but represented, 
instead, a rough, jovial, happy-go-lucky Alsatian 
farmer until the music of the ghostly sleigh-bells 



$fapg of tfje $te$c\\t. 35 

began to work upon his nerves. Later, Coquelin 
followed Talien's conception of the character. The 
performance in Paris was seen by John Hollings- 
head, and on his return to London the printed ver- 
sion was taken by him to Hermann Vezin and 
John Ryder, with the suggestion that the leading 
character offered a good chance for a tragic actor. 
In the meantime, a version had been made by F. C. 
Burnand, and this was produced by Charles Har- 
court, under the title of "Paul Zegers," at the Al- 
fred Theatre in Marylebone, some time previous 
to the presentation of Leopold Lewis's adaptation 
under H. L. Bateman's management at the Lyceum 
Theatre. 

Irving's success as Mathias was the real begin- 
ning of his triumphant career as the leader of the 
London stage. "The Bells" received one hundred 
and fifty-one consecutive performances at the Ly- 
ceum Theatre, running there until May 17, 1872. 
Since then it has remained in Irving's repertory, 
and has been given many hundred performances on 
both sides of the ocean. It was the bill on the night 
of Irving's first appearance in America, at the Star 
Theatre, New York, on October 29, 1883, Miss 
Terry making her American debut the following 
evening as the Queen in "King Charles I." 

Other actors have played Mathias in this coun- 
try, among them being James W. Wallack, Jr., Jo- 
seph Haworth, Clay Clement, Creston Clarke, 
Frank J. Keenan, and Thomas E. Shea. 



36 papg of tfje $tmnt 

The Benefit of the Doubt, a drama by Arthur 
W. Pinero, was produced at the Comedy Theatre, 
London, on October 16, 1895. The cast: 

John Allingham Leonard Boyne. 

Sir Fletcher Portwood, MP Cyril Maude. 

Alexander Fraser of Locheen J. G. Graham. 

Claude Emptage Aubrey Fitzgerald. 

Denzil Shafto J. W. Pigott. 

Peter Elphick Stuart Champion. 

The Bishop of St. Olpherts Ernest Cosham. 

Quaife J. Byron. 

Horton Miles Brown. 

Mrs. Allingham Lily H anbury. 

Mrs. Cloys Rose Leclercq. 

Mrs. Emptage Henrietta Lindley. 

Justina Emptage Esme Beringer. 

Mrs. Quinton Twelves Eva Williams. 

Mrs. Fraser Winifred Emery. 



The judgment of William Archer, expressed in 
the London "World" a few days after the first per- 
formance, was : "A play, according to Auguste 
Vitu, should contain a painting, a judgment, and 
an ideal. Mr. Pinero has given us the painting; 
the judgment we need not insist on, for judgments 
are generally wrong; but it would do no harm if, 
in subsequent works, he could manage to throw in 
a touch of the ideal." 

The acting met with a divided house of criticism. 
Many praised it, but George Bernard Shaw, with 
his usual independence and frankness, asserted that 
Pinero never knows how to cast his own plays. 
And the play likewise ranged both the critics and 
the populace into two hostile camps, each equally 



$Iap£ of tfje $rcgcnt. 37 

alert and energetic in defense of its views. When 
the play was brought to this country, the London 
verdict was repeated in New York as closely as if 
it were nothing but a phonographic report. It was 
performed at the Lyceum Theatre on January 6, 
1896, by Daniel Frohman's company, arranged as 
follows : 



John Allingham Herbert Kelcey. 

Sir Fletcher Portwood, M.P. . . W. J. Le Moyne. 
Alexander Fraser of Locheen . . Stephen Grattan. 

Claude Emptage Fritz Williams. 

Denzil Shafto Walter S. Hale. 

Peter Elphick Ferdinand Gottschalk. 

The Bishop of St. Olpherts . . . W. Buckland. 

Quaife Ernest Tarleton. 

Horton Edward P. Wilks. 

Mrs. Allingham Elita Proctor Otis. 

Mrs. Cloys Mrs. Whiffen. 

Mrs. Emptage " Charles Walcot. 

Justina Emptage Elizabeth Tyree. 

Mrs. Quinton Twelves Gertrude Rivers. 

Mrs. Fraser Isabel Irving. 



Outside of New York, however, "The Benefit 
of the Doubt" was performed during the season 
of 1896-1897 by Charles Frohman's Empire Thea- 
tre Company, with William Faversham as John 
Allingham, J. E. Dodson as Sir Fletcher Port- 
wood, Robert Edeson as Alexander Fraser, Ferdi- 
nand Gottschalk as Claude Emptage, George C. 
Pearce as Denzil Shafto, Jameson Lee Finney as 
Peter Elphick, W. H. Crompton as the Bishop of 
St. Olpherts, Elsie de Wolfe as Mrs. Allingham, 
Mrs. Thomas Whiffen as Mrs. Cloys, Ida Conquest 

3* 



3 8 pap£ of tfjc ^regent. 



as Justina Emptage, May Robson as Mrs. Emp- 
tage, Jane Harwar as Mrs. Quinton Twelves, and 
Viola Allen as Mrs. Fraser. 

Ben Hur, a play in six acts dramatized by Wil- 
liam Young from General Lew Wallace's romance 
of the same name, was produced, with incidental 
music by Edgar Stillman Kelly, at the Broadway 
Theatre, New York, on November 29, 1899. The 
cast was : 

Ben Hur Edward J. Morgan. 

Messala W. S. Hart. 

Simonides Henry Lee. 

Arrius Edmund Collier. 

Balthazar Frederick Perry. 

Ilderim Emmett Corrigan. 

Malluch Frederick Truesdell. 

Hortator Charles J. Wilson. 

Metellus George Frederick. 

Drusus Paul Gerson. 

Cecilius Henry Devere. 

Sanballat Robert Mansfield. 

Kahled Charles Craig. 

Centurion Henry Montrose. 

Officer of the Galley William Ford. 

Esther Grace George. 

Iras Corona Riccardo. 

Mother of Hur Mabel Bert. 

Tirzah Adeline Adler. 

Amrah Mary Shaw. 

After running at the Broadway Theatre through 
the season of 1899-1900, the play began its second 
season at the Chestnut Street Opera House, Phila- 
delphia, in the fall of 1900. It remained there 
several months, gaining a popularity equal to that 



$Iap£ of tfje ^rcjsfent. 39 

which it had won in New York, and on December 
20, 1900, opened the new Colonial Theatre in Bos- 
ton, where it ran until April 20. During the sea- 
son of 1901-1902 it played long engagements in 
Chicago, Boston, and other American cities. 

Among the important changes in the cast since 
its production have been the substitution of Wil- 
liam Farnum for Edward J. Morgan in the title 
role, and the replacing of Grace George succes- 
sively by Nellie Thorne and Ellen Mortimer as 
Esther. Balthazar has also been played by Fran- 
cis Kingdon, Messala by George Alison, Arrins 
by Robert Elliot and Frank Weston, Simonides by 
Emmett Corrigan and Henry Jewett, and Iras by 
Adele Block and Sylvia Lynden. 

The Big Bonanza, a comedy in four acts adapted 
by Augustin Daly from Von Moser's "Ultimo," 
was produced at the Fifth Avenue Theatre, New 
York, on February 15, 1875. The cast was: 

Professor Cadwallader James Lewis. 

Jonathan Cadwallader Charles Fisher. 

Uncle Rymple William Davidge. 

Bob Ruggles John Drew. 

Jack Lymer B. T. Ringgold. 

Alphonsus de Haas George Parkes. 

Mouser Owen Fawcett. . 

Crumpets J. W. Jennings. 

Lucretia Cadwallader Annie Graham. 

Eugenia Fanny Davenport. 

Carolina Cadwallader Mrs. G. H. Gilbert. 

Virgie Emily Rigl. 

Mile, de Vincy Nina Varian. 

Balder Miss N. Mortimer. 



4 o pap£ of tfje ^regent. 

On this occasion John Drew made his first ap- 
pearance as a member of Augustin Daly's com- 
pany. "The Big Bonanza" ran until the end of the 
season, June 28, and on the following August 23 
it was revived for a week. As Bob Ruggles, Mau- 
rice Barrymore then played for the first time in 
New York. It was the first of Mr. Daly's long 
series of successful adaptations from the German 
and the French. Mr. Lewis's character was that 
of a dry, irritable old man of learning who despised 
his wealthy and practical brother, a Wall Street 
magnate. 'Anybody," he sneered, "could make 
money as you do. It requires no brains." Where- 
upon his brother put a large sum of money at the 
professor's disposal, and upon his absurd methods 
of speculation hinged much of the humor of the 
play. 

Other versions of "Ultimo" were performed in 
this country, and for several seasons it received 
occasional revivals by Mr. Daly's company. 

A Bit of Old Chelsea, a play in one act by Mrs. 
Oscar Beringer, was first seen in this country at 
the Fifth Avenue Theatre, New York, on April 11, 
1898, with the following cast : 

Jack Hillier Forrest Robinson. 

Phil MacDonald Wilfrid North. 

Jim Dixon George Trader. 

Paul Raymond Frank McCormack. 

Alexandra Victoria Bellcham- 

ber Minnie Maddern Fiske. 




EMILY RIGL, and CHARLES FISHER. 

As Virgie, As Jonathan, 

In The Big Bonanza. 



pap£ of tfje $tcgmt. 4 i 

Mrs. Beringer's pathetic little play had been suc- 
cessful in London, where it was produced at the 
Court Theatre on February 8, 1897, and Mrs. 
Fiske thought that it would interest American 
playgoers, a supposition that was well founded. 
The story was brief, and related to a night at the 
studio of a London sculptor, who is about to give 
up his Bohemian life and marry and settle down. 
A poor flower-girl is rescued from the snow of the 
street by the sculptor, Jack Hillier, who gives up 
his bunk to her and throws himself on the sofa 
before the fire, refuses to join his Bohemian com- 
panions in a final carouse, and knocks down a fel- 
low who makes a jest of the girl. The latter, when 
she understands that Hillier is her protector, but 
that she has no right to his protection, climbs down 
from the bunk while the young man is asleep and 
goes out into the night, blessing the sleeping youth 
as she goes. 

The acting of Mrs. Fiske as the flower-girl was 
quietly effective, showing considerable humor, and 
giving just the right touch of tenderness at the end. 
The other players had little to do. When Mrs. 
Fiske gave the piece the following season, John 
Craig was seen as Jack Hillier and Tyrone Power 
as Jim Dixon, Mr. Craig making as much as pos- 
sible of the part of the sculptor. 

Box and Cox, a farce in one act by John Mad- 
dison Morton, was produced at the Lyceum Thea- 



42 pap£ of tfje $xt$cnt. 

tre in London on November I, 1847. At that time 
the Lyceum was under the management of Ma- 
dame Vestris, who had gathered about her a com- 
pany of actors unexcelled in the production of light 
comedies and farces. Morton's new piece was an- 
nounced as "Box and Cox, a Romance of Real 
Life," and was cast as follows : 

John Box Mr. Buckstone. 

James Cox " Haeley. 

Mrs. Bouncer Mrs. Macnamara. 

John Baldwin Buckstone, who played Box, was 
one of the best comedians of his day, and a volumi- 
nous playwright. He invariably played to his audi- 
ence, calling attention to his humor by salient ap- 
peals to his hearers, and his acting in this farce 
was among his most notable efforts. John Pritt 
Harley, who played Cox, was a very amusing come- 
dian in his own airy, chattering, mercurial way, 
overflowing with wit and humor. He had such 
gayety and vivacity, such resources of look and 
gesture, that he was a general favorite. Mrs. 
Macnamara played "motherly" parts under Ves- 
tris ; she was an actress of some note in her time. 
The skilful acting of Buckstone and Harley estab- 
lished the fame of Morton's farce, and for many 
years both these players were in demand to repeat 
their great success at benefits and at special per- 
formances. 

The new piece was not long in crossing the At- 



$iapg of rtje $tt$cnt. 43 

lantic. On January 26, 1848, William, B. Chap- 
man, an excellent comedian who, after winning 
fame on the London stage, had come to this coun- 
try and made a place for himself here, successfully 
appeared as Cox at the Broadway Theatre, New 
York, a success which he repeated a few months 
later at Palmer's Theatre in the same city, with 
John Povey as Box and Mrs. Vernon (Miss Jane 
Fisher) as the landlady. The same year the pa- 
trons of Mitchell's Olympic saw the new farce with 
George Holland as the printer, W. Conover as 
the hatter, and Mrs. Henry as Mrs. Bouncer. 

Boston was not behind in witnessing Morton's 
work, for the same season that saw its New York 
production also saw it brought out at the Museum, 
with William Warren as John Box. It was the 
great comedian's first season at the Museum, and 
he made a hit in the part, which remained in his 
repertory to the last. Two years later it was given 
with Warren and Jacob W. Thoman as the two 
journeymen, and Mrs. Judah as the landlady. 
Later "Jimmy" Ring played Cox, but Warren 
could usually be depended on to appear as Box 
once or twice during the season, and in nothing 
that he played was he better appreciated by the 
Museum audiences. A notable cast of more recent 
years at the Museum comprised George W. Wil- 
son, Sol Smith Russell, and Kate Ryan. 

A performance of "Box and Cox" at the Hay- 
market Theatre, London, on October 16, 1889, is 



44 $fap£ of tf)e $tt$mt. 

noteworthy as being part of an entertainment 
which was given for the benefit of Morton, its 
author, who was then lying ill at the Charterhouse, 
so lovingly described by Thackeray in "The New- 
comes." Two years later the poor old dramatist 
passed away there. At the benefit two of the fa- 
mous Morton farces were given, and Beerbohm 
Tree, who had been one of the principal movers 
in the affair, recited a poem in which the beneficiary 
was referred to as — 

A man of whom no ill is heard, 
Whose epitaph will face one: 

"He never wrote an unkind word, 
And never thought a base one." 

Certainly an appropriate epitaph for the author 
of "Box and Cox," who had furnished many an 
hour of innocent amusement for two generations of 
playgoers. It is pleasant to know that his last days 
were passed in comfort, and that to the end his 
friends looked after his simple wants and supple- 
mented as far as possible the excellent care he re- 
ceived at the Charterhouse. 

A Bunch of Violets, a drama in four acts, was 
adapted by Sydney Grundy from Octave Feuillet's 
"Montjoye," a comedy in five acts, which was pro- 
duced in Paris in 1863. "Montjoye" has been pro- 
nounced "perhaps M. Feuillet's best play" by so ex- 
cellent an authority as Brander Matthews, and it 
bears, in common with the same dramatist's "Le 



$Iap0 of tfje ffcgftnt. 45 

Roman d'un Jeune Homme Pauvre" and "La 
Tentation," not only slight traces of the influence 
of Alfred de Musset, but still more startling re- 
sults of the influence of the younger Dumas's work, 
especially "Le Demi-Monde" and "Le Fils Natu- 
rel." 

In one form and another, "Montjoye" has been 
known to the American stage ever since 1866, 
when, under the title of "A Man of Iron," it was 
performed in San Francisco by a company includ- 
ing Louis James, Charles R. Thorne, Jr., and Louis 
Aldrich. In 1877 another version was given in 
San Francisco, under the title of "Montjoye," with 
Charles Coghlan in the leading character. When 
Coghlan came to New York a few years later, he 
appeared at the Union Square Theatre, under the 
management of A. M. Palmer, in a version by 
A. R. Cazauran called "The Man of Success." 

These versions, however, bore little resemblance 
to "A Bunch of Violets." In 1877 Sydney Grundy, 
with his keenly developed sense for the adaptabil- 
ity of a foreign play, saw in Feuillet's drama an- 
other chance for an English dramatic work. His 
version was brought out under the title of "Mam- 
mon" at the Strand Theatre in London in April, 
1877, for the benefit of W. H. Vernon, the stage 
manager of that house, and was put into the regu- 
lar evening bill on the 12th of May. Barring occa- 
sional performances here and there, the play slum- 
bered until April 25, 1894, when it was produced 



4 6 papg of tftc $regmt 

in a new form, with renamed characters and al- 
tered scenes, at the Haymarket Theatre, London. 
It ran until the following 19th of July, the season 
closing on the 20th with a performance of Ibsen's 
"An Enemy of the People." When the Haymar- 
ket Theatre opened its next season, on October 8, 
"A Bunch of Violets" was revived, and ran until 
the 3d of November. The original cast was as 
follows : 

Sir Philip Marchant Beerbohm Tree. 

Viscount Mount Sorrell Nutcombe Gould. 

The Hon. Harold Inglis CM. Hallard. 

Mark Murgatroyd Lionel Brough. 

Jacob Schwartz G. W. Anson. 

Harker Holman Clark. 

Butler Mr. May. 

Lady Marchant Lily Hanbury. 

Violet Audrey Ford. 

Mrs. Murgatroyd Mrs. Beerbohm Tree. 

The one noteworthy element in the performance, 
aside from Mr. Tree's portrayal of Sir Philip Mar- 
chant, was Mrs. Tree's interpretation of Mrs. Mur- 
gatroyd, a brilliant, forceful, and individual charac- 
terization, showing an unexpected aptitude for the 
acting of characters of the adventuress type. Wil- 
liam Archer said : "It is intelligent, daring, original. 
The mere make-up shows the true artist. Mrs. 
Tree looks at times like a creation of Mr. Aubrey 
Beardsley, in one of his more human moods. 
. . . Mr. Tree, too, excels in make-up. With 
comparatively little mechanical aid, he refashions 
his whole countenance. His playing has strong 



$Iapg of tf>e ^regent. 47 

moments ; but I think he ought to guard against a 
declamatory tendency which has recently been 
growing upon him, along with a partiality for 
broad and cheap comic effects." 

"A Bunch of Violets" was first played in this 
country by Mr. Tree, with substantially its original 
cast, at Abbey's Theatre in New York on January 
30, 1895, and was occasionally repeated during 
his American tour. 

Captain Swift, a drama in four acts by Haddon 
Chambers, was produced by Beerbohm Tree at the 
Haymarket Theatre, London, on the afternoon of 
June 20, 1888, and was so favorably received that 
it was put on as the opening attraction at that 
house on the following ist of September. The 
cast was : 

Mr. Wilding Beerbohm Tree. 

Mr. Seabrook Henry Kemble. 

Harry Seabrook Fuller Mellish. 

Mr. Gardiner F. H. Macklin. 

Marshall Charles Brookfield. 

Michael Ryan Charles Allan. 

Bates Robb Harwood. 

Mrs. Seabrook Lady Monckton. 

Lady Staunton Rose Leclercq. 

Mabel Seabrook Angela Cudmore. 

Stella Darbisher Mrs. Beerbohm Tree. 

Immediately after the experimental performance 
in June, the American rights to "Captain Swift" 
were secured by A. M. Palmer, who produced it 
in New York at his Madison Square Theatre on 



4 8 pap£ of tfje $ttgcnt. 

Tuesday evening, December 4, 1888. As played 
in this country, it was considerably altered by Dion 
Boucicault, and the changes are said to have been 
to the benefit of the drama, although there are no 
means at hand for a comparison of the two ver- 
sions. The cast of the American production was 
as follows : 

Mr. Wilding Maurice Barrymore. 

Mr. Seabrook Frederic Robinson. 

Harry Seabrook Henry Woodruff. 

Mr. Gardiner E. M. Holland. 

Marshall J. H. Stoddart. 

Ryan Walden Ramsay. 

Bates Reuben Fax. 

Mrs. Seabrook Agnes Booth. 

Stella Darbisher Marie Burroughs. 

Mabel Seabrook Annie Russell. 

Lady Staunton Mrs. E. J. Phillips. 

"Captain Swift" played long engagements both 
in London and in New York, and has been fre- 
quently revived. It was a feature of Mr. Tree's 
repertory during his first American tour, being 
played by him for the first time in this country at 
Abbey's (now the Knickerbocker) Theatre, New 
York, on the afternoon of February 7, 1895, with 
himself in the title role, Mrs. Tree as Stella Dar- 
bisher, Lily Hanbury as Mabel Seabrook, Charles 
Allan as Mr. Seabrook, C. M. Hallard as Harry 
Seabrook, and Henry Neville as Mr. Gardiner. A 
revival at Her Majesty's Theatre, London, in May, 
1899, was made notable by the appearance of Miss 
Genevieve Ward in the character of Mrs. Seabrook. 




MAURICE BARRYMORE, 

As Mr. Wilding, in Captain Swift. 



pap£ of tfte $te$tnt 49 

The Case of Rebellious Susan, a comedy in 
four acts by Henry Arthur Jones, was produced 
at the Criterion Theatre, London, on October 23, 
1894, under the management of Charles Wynd- 
ham. The cast included Mr. Wyndham as Sir 
Richard Kato and Miss Mary Moore as Lady 
Susan Harabin. On December 29 of the same 
year it was played for the first time in this country 
at the Lyceum Theatre in New York, with the fol- 
lowing cast of characters : 

Sir Richard Kato, Q.C Herbert Kelcey. 

Admiral Sir Joseph Darby W. J. Le Moyne. 

Mr. Jacomb Charles Walcot. 

James Harabin Stephen Grattan. 

Fergusson Pybus Fritz Williams. 

Lucien Edensor Walter S. Hale. 

Kirby Ernest Tarleton. 

Lady Susan Harabin Isabel Irving. 

Elaine Shrimpton Elizabeth Tyree. 

Lady Darby Mrs. Charles Walcot. 

Mrs. Inez Quesnel Rhoda Cameron. 

Even in the light of Mr. Jones's highly amusing 
published preface to "The Case of Rebellious Su- 
san," it is difficult to understand what the dram- 
atist was driving at when he wrote this "com- 
edy." At first thought — especially during the first 
act — it seems to be a deliberate skit upon Dumas's 
"Francillon," but it later assumes a perfunctorily 
serious tone which precludes any such idea. The 
story simply deals with the right of a wife to re- 
taliate in kind against her husband's infidelity, al- 
though the extent of dereliction on both sides is 

4 



so $fop£ of tfje $tt$mt 

left in a delightful state of uncertainty. Upon this 
theme is woven a tale of conjugal infelicity, al- 
though Lady Susan is scarcely to be blamed for 
casting off so woe-begone and spiritless a husband 
as her lord is represented to be. Through the min- 
istrations of Sir Richard Kato, all these little iron- 
ies of life, as Thomas Hardy would call them, are 
smoothed over, and the audience leaves the theatre 
with the feeling that if any difficulties arise after 
the curtain has fallen, good Sir Richard will be 
sure to set everything aright. 

Caste, a comedy in three acts by T. W. Robertson, 
was produced at the Prince of Wales's Theatre in 
London on April 6, 1867. If some bookworm 
should chance to come across an old "Christmas 
Annual" edited by Tom Hood, and if he should 
open it at a sketch entitled "Rates and Taxes," he 
would have before him the germ of Robertson's 
comedy. Of all his plays, with the possible excep- 
tion of "David Garrick," "Caste" has been the 
most popular. It was produced at the little Prince 
of Wales's Theatre following the withdrawal of 
"Ours" after its long run of one hundred and fifty 
nights, and it continued the successful series of 
Robertson plays which had begun there under the 
Bancrofts' management with the performance of 
"Society" in November, 1865. John Hare was a 
member of the company, and had made successive 
hits as Lord Ptarmigant in "Society" and Prince 



papg of tfje $rcgent. 51 

Perovsky in "Ours" before the part of Sam Ger- 
ridge fell to him when "Caste" was put in re- 
hearsal. In that original performance, Frederick 
Yonge appeared as Hon. George d'Alroy, S. B. 
Bancroft as Captain Hawtree, George Honey as 
Eccles, Lydia Foote as Esther, and Marie Wilton 
(who later became Mrs. Bancroft) as Polly. 
There are many who hold to this day that Mrs. 
Bancroft's Polly is the most finished portrait ever 
contributed by her to the English stage. George 
Honey's Eccles, well known by playgoers in this 
country a score of years ago, was one of the most 
minutely perfect performances of an unusually 
versatile and gifted comedian; and Mr. Hare, 
who some thirty years later gave the character of 
Sam Gerridge to his son in order to put on the 
garb of Eccles himself, was said to have been the 
veritable portrait of a sharp, wiry workingman, 
who might have stepped out of any mechanic's 
shop in England. 

"Caste" was to become an English stage classic. 
Ever since that first night, it has been played year 
after year in almost every theatre in the United 
Kingdom, never seeming to lose one jot of the pop- 
ularity won at its original performance. David 
James became a well-known Eccles, and in recent 
years John Hare has added to his fame by his act- 
ing of the drunken scamp. He played the part 
for the first time in London on October 16, 1896, 
and gave to the character many distinctly pathetic 



5 2 papg of tfje $tt$mt 

elements which it lacked at the hands of its pre- 
vious interpreters. 

"Caste" was at once drafted into the American 
service by William J. Florence, who concocted a 
manuscript of the play through closely watching 
the London performances, and brought out the 
result at the Broadway Theatre in New York on 
August 5, 1867. The cast was as follows : 



Hon. George d'Alroy William J. Florence. 

Captain Hawtree Owen Marlowe. 

Eccles William Davidge. 

Sam Gerridge Edward Lamb. 

Esther Henrietta Chanfrau. 

Polly Mrs. William J. Florence. 

Marquise de St. Maur " G. H. Gilbert. 



A lawsuit between Lester Wallack and Florence 
resulted in a victory for the latter, and so Mr. Wal- 
lack's company was obliged to follow the lead of 
its rival. The first Wallack production was given 
in Brooklyn on the 2d of September, with the fol- 
lowing cast : 

Hon. George d'Alroy J. B. Polk. 

Captain Hawtree B. T. Ringgold. 

Eccles J- H. Stoddart. 

Sam Gerridge Charles Hale. 

Esther Clara Jennings. 

Polly Mary Gannon. 

Marquise de St. Maur Mrs. George Vernon. 

A short revival of the comedy was given at Wal- 
laces Theatre the following season, and another 
at Augustin Daly's Fifth Avenue Theatre on No- 



$lapg of tfje ^re*rcnt. 53 

vember 15, 1869, with Mrs. Chanfrau, Mrs. Gilbert, 
and Mr. Davidge in the parts they acted in the 
Florence production, George Clarke as d'Alroy, 
J. B. Polk as Hawtree, James Lewis as Sam Ger- 
ridge, and Fanny Davenport as Polly. Other re- 
vivals followed from time to time, but "Caste" 
never reached the perhaps doubtful distinction of 
a long run. George Honey, Harry Beckett, Charles 
Groves, Robert McWade, George W. Wilson, and 
George Holland have all been seen in the larger 
cities of the country as Eccles, and among the later 
Sam Gerridges, E. M. Holland is the most notable. 
Ada Dyas, Rose Coghlan, and Marion Manola 
have appeared as Esther, while Polly has had the 
benefit of such interpreters as Effie Germon, Flor- 
ence Gerard, and Hattie Schell. 

"Caste" lost no time in reaching Boston. A series 
of three performances at the Howard Athenaeum, 
on September 2, 3, and 4, 1867, under the auspices 
of Cecille Rush, paved the way for the successful 
production which came at the Boston Museum on 
the following September 23, and in which William 
Warren added a notable portrait to his already 
large collection of masterly dramatic creations. 
The cast was : 

Hon. George d'Alroy L. R. Shewell. 

Eccles William Warren. 

Captain Hawtree J. A. Smith. 

Sam Gerridge J. H. Ring. 

Dixon Walter Kelly. 

Esther Eccles Annie Clarke. 

Polly Eccles Louisa Meyers. 

Marquise de St. Maur Mrs. E. L. Davenport. 

4* 



54 $top£ of tfje Regent. 

When Florence left New York, after the lawsuit 
with Wallack, he went to Boston and gave two per- 
formances of his version of "Caste" at the Boston 
Theatre on September 30 and October 1, 1867. 
The cast was made up of Florence as d'Alroy, Mrs. 
Florence as Polly, Mrs. J. B. Booth (now known as 
Agnes Booth) as Esther, Mrs. L. Morse as the 
Marquise, and Walter M. Leman as Eccles. 

Another production followed at Selwyn's Thea- 
tre on Thursday evening, November 7, announced 
as the "first appearance of Kitty Blanchard and 
first night in this theatre of the original comedy 
by Thomas W. Robertson, now presented (for the 
first time in Boston) from the original manuscript, 
purchased from the author, entitled 'Caste.' " The 
play, however, was performed only four times at 
that house. The cast included Mrs. Henrietta 
Chanfrau, Miss A. Harris, Frederic Robinson, 
G.W. Garrison, Stuart Robson, and Harry Pearson. 

The two most notable Boston revivals came in 
the fall of 1875, when George Honey first showed 
American theatre audiences his conception oiEccles 
at the Globe Theatre, and Warren reappeared at the 
Museum in the character which he had made fa- 
mous eight years before. The comedy was acted at 
the Globe Theatre by George Honey as Eccles, John 
C. Cowper as d'Alroy, Owen Marlowe as Hawtree, 
John H. Burnett as Sam Gerridge, Clara Fisher 
Maeder as the Marquise, Katherine Rogers as Es- 
ther Eccles, and Lillian Conway as Polly. This 



$lap£ of tije $re£cnt 55 

production opened on November 29, 1875, follow- 
ing after a brief interval the long run of "Our 
Boys," and continued until December 15. The rival 
production at the Museum included Warren as 
Eccles, Harry Montague as d'Alroy, W. H. Crisp 
as Hawtree, J. H. Ring as Sam, Annie Clarke as 
Esther, Mary Cary as Polly, and Mrs. Vincent as 
the Marquise. Warren acted Eccles eighty-four 
times in all. Montague, who was one of the best 
d'Alroys ever seen on our stage, had come from 
Wallack's Theatre in New York, where he had 
been playing that character to the Eccles of Harry 
Beckett, the Sam Gerridge of E. M. Holland, with 
Ada Dyas as Esther, Erne Germon as Polly, and 
Mme. Ponisi as the Marquise. 

In recent years "Caste" has been occasionally 
revived in New York, Boston, and other important 
theatrical centres. 

The Cat and the Cherub, a play of Chinese 
life in one act by Chester Bailey Fernald, was pro- 
duced at Hammerstein's Olympia Theatre in New 
York on September 20, 1897, with the following 
cast: 

Wing Shee Holbrook Blinn. 

Chin Fang Richard Ganthony. 

Hoo King Alfred Hastings. 

Wing Sun Luey Edwin Morrison. 

Ah Yoi Ruth Benson. 

Hwah Kwee Alethea Luce. 

Hoo Chee Grace Sheridan. 

One-two (the cat) By Himself. 



56 pap£ of tfje $regent. 

Mr. Fernald's little play of life in the Chinese 
quarter of San Francisco is one of the few short 
pieces that are not only interesting but intensely 
dramatic and exciting, keeping the auditor in a 
state of suspense that is not relieved until the fall 
of the curtain. Adapted from a story by Mr. Fer- 
nald, originally published in "The Century Maga- 
zine," it shows a side of Chinese character with 
which few Americans are familiar; and while it 
does not require actors of special ability for its 
interpretation, it nevertheless needs players who 
can enter into the spirit of the odd scene and ac- 
tion, and who can make the speeches, delivered 
in the peculiar style of the Chinese, effective to 
an audience which has to take for granted the fact 
that the portrayal is true to life. Mr. Ganthony 
was good as the keeper of an opium den, the vil- 
lain of the story, while Mr. Blinn delivered care- 
fully the long speeches, spiced with a dash of Chi- 
nese humor. One of the best features of the 
production was the incidental music by Edgar Still- 
man Kelley and N. Clifford Page, which was a 
quaint imitation of the Chinese airs to which vis- 
itors to the "Chinatowns" of various cities have 
become accustomed, but which was scholarly and 
appropriate, showing that both Mr. Kelley and his 
fellow-worker had made a study of the music of 
the Flowery Kingdom. 

Catherine, a comedy in four acts by Henri Lave- 
dan, was produced in Paris at the Theatre Fran- 



$Iap£ of tf)e ffctyftnt 57 

gais on January 22, 1898. An English version 
was at once prepared for Charles Frohman, who 
had secured the American rights, and it was per- 
formed for the first time in this country in the Gar- 
rick Theatre, New York, on October 24, 1898. 
The cast was : 



Duke de Coutras Frank Worthing. 

George Mantel Joseph Holland. 

M. Vallon W. J. Le Moyne. 

Baron Frouard J. G. Saville. 

M. Lucas Robert Hickman. 

Frederic Francis Sedgwick. 

Paul Gretta Carr. 

Footman Morgan Thorpe. 

Duchess de Coutras Sarah Cowell Le Moyne. 

Catherine Vallon Annie Russell. 

Helene Elsie de Wolfe. 

Baroness Frouard Dora Goldthwaite. 

Madeleine de Coutras Ethel Barrymore. 

Blanche Vallon May Buckley. 

Jeanne Georgie Mendum. 

Louise Marion Kirk. 



Even if "Catherine" were not one of the best 
plays of our modern era, it would have been dig- 
nified into excellence by the exceptionally strong 
company of players which presented it. As it is, 
both play and actors were so perfectly adjusted to 
each other that the result was a performance re- 
markable alike in the credit due to both the dram- 
atist and to his interpreters. Henri Lavedan is 
one of the foremost of the modern school of French 
writers for the stage, and is known in Paris and 
throughout France as a modern of the moderns. 
Three years before the production of "Catherine," 



5 8 pa^ of tide $tc$tnt. 

his "Viveurs !" created a sensation even in sensa- 
tional Paris, and thenceforth everything from his 
pen was sure of the most exacting interest and 
attention. His "Catherine" found its author in an 
entirely new mood, for, with the possible excep- 
tion of one scene, it proved to be both meat for 
the strong and food for the weak. It had no new 
story to tell, it gave no ethical message to an ex- 
pectant world, its characters were the ordinary 
people of French life and the customary person- 
ages of the French stage. But its author proved 
his power by his ability to recreate the old into 
the new, and to translate the stock characters and 
incidents of fiction into the language of his own 
time and place. The story of "Catherine" is as 
old as mankind. It is found in the literature of 
primitive ages ; it prevails in the ballad and song 
which came directly from the hearts of the people 
before the arts of writing and printing were de- 
veloped ; it found a ready welcome when put upon 
the printed page in every land and every tongue. 
King Cophetua and his love for the beggar maid 
will always be, with varied changes, a theme for 
the novelist and dramatist, and no one need there- 
fore blame M. Lavedan because he chose to resur- 
rect the old tale in order to tell it in his own way. 
Other French dramatists who have preceded him 
— George Sand, Emile Augier, Alexandre Dumas 
fils, to cite only the most prominent — have rung 
their varied changes on the theme, and alike in 



$Iap£ of tfje $tt$t\\t. 59 

their case and in M. Lavedan's the end has fully 
justified the means. 

The three leading characters in "Catherine" were 
acted almost to perfection by Miss Russell, Mrs. 
Le Moyne, and Mr. Worthing. Interpretation of 
character in its deepest, richest, and subtlest sense 
is rare indeed even among our best actors, and it 
is exactly such interpretation which these three 
players gave. Mrs. Le Moyne's interpretation 
achieved first rank, partly because of the strength 
given the character by the dramatist, but largely 
because of the strength added to it by the actress. 
She reinforced the character with her own person- 
ality to such a degree that she seemed veritably 
to create it of her own accord. And Miss Russell 
met every exigency of the title character with 
equal perfection. Mr. Worthing, whose chief 
scenes, with two exceptions, were acted with Mrs. 
Le Moyne and Miss Russell, allowed himself to 
be imbued with their naturalistic fervor, and the 
result was of more than ordinary interest. Once 
an actor of the purely declamatory school, Mr. 
Worthing became an exponent of nature, and no 
one could wish any greater degree of truth than 
was imparted by him to the character of the Duke 
de Coutras. 

A Celebrated Case, under its French title of 
"Une Cause Celebre," was produced at the Am- 
bigu Comique, Paris, on December 4, 1877, with 



6o $fapg of tfjc $zt$ent. 

M. Dumaine as Jean Renaud, M. Vaunoy as Cham- 
boran, M. Laray as Lazare, M. Faille as Comte 
d'Aubeterre, Mme. Lena Munte as Adrienne, and 
Mme. M. Vannoy as Valentine. It was built, by 
Adolphe d'Ennery and Eugene Cormon (the au- 
thors of "Les Deux Orphelines"), on the details 
of a recent sensational trial, and, being transferred 
to the Theatre de la Porte St. Martin on Decem- 
ber 7, ran there for the unusually successful sea- 
son of one hundred performances. 

Emile Zola, then a dramatic critic, wrote a mas- 
terly criticism of the play, which may be found in 
his published volume of critical essays. Among 
other things, he says : "The prologue is in every 
way excellent. If only the style of it were changed 
— for in what an abominable style it is written ! I 
could wish for no better prologue, from my own 
point of view. I have rarely seen anything on 
the stage finer than the horrible assassination of 
Madeleine. . . . But everything is spoiled 
when the drama begins. What a strange combi- 
nation of duke and convict! And the silliest sen- 
tences are those which elicit the most violent ap- 
plause. And, after all, why should we complain? 
Public silliness must have channels of expression 
of its own." 

Two English versions were immediately forth- 
coming. "Proof, or A Celebrated Case," adapted 
by F. C. Burnand, was produced in London at 
the Adelphi Theatre on April 20, 1878, and ran 



pap£ of tfje $re£mt. 61 

to crowded houses up to the first week of the fol- 
lowing February, the cast including Mr. and Mrs. 
Daniel E. Bandmann (Millicent Palmer), Samuel 
A. Emery, Mr. and Mrs. Arthur Sterling, Louise 
Moodie, Charles Harcourt, and Mrs. Billington. 
The play was exceedingly well acted, an especial 
hit being made by Charles Harcourt in the char- 
acter of the Count d'Aubeterre. Mr. Bandmann 
retired from the cast in the early part of the run, 
and was succeeded as Pierre by Herman Vezin, 
who continued in the character until the play was 
withdrawn. 

But A. R. Cazauran, who was the play reader 
and dramatist attached to the Union Square Thea- 
tre, had anticipated the British adapter by several 
months, and five days after its production in New 
York under the literally translated title of "A Cele- 
brated Case," the play was brought out at the Bos- 
ton Museum, on January 28, 1878, with Mr. Bar- 
ron as Jean, Mr. Warren as Dennis O'Rourke, 
Miss Clarke as Adrienne, and the other leading 
roles intrusted to Mrs. Vincent, Mr. McClannin, 
and Miss Fannie Reeves. The performance was 
received on all sides with enthusiasm, and the 
play ran continuously at the Museum until the 20th 
of the following February. "Mr. Barron," says 
a contemporary account, "plays the soldier — the 
victim and martyr — and acts it with the finest ar- 
tistic discretion and reserve, harrowing most the 
best seasoned theatre-goers by the complete natu- 



62 pap£ of tfje $regcnt. 

ralness and manliness of his heartbroken misery. 
His grimy make-up for the convict is a completer 
self-abnegation for the sake of art than is often 
seen upon the stage." 

Then came, from season to season, revivals of 
the play throughout many sections of the United 
States. George W. Wilson, James O'Neill, and 
Alexander Salvini have played Jean Renaud in 
recent years, and Kate Meek, Elizabeth Robins, 
Agnes Booth, and Georgia Cayvan have played 
Adrienne. 

The Charity Ball, a comedy drama in four acts 
by David Belasco and Henry C. De Mille, was 
produced at the Lyceum Theatre, New York, on 
November 19, 1889, with the following cast : 

John Van Buren Herbert Kelcey. 

Dick Van Buren Nelson Wheatcroft. 

Judge Peter Gurney Knox William J. Le Moyne. 

Franklin Cruger Charles Walcot. 

Mr. Creighton Harry Allen. 

Alec Robinson Fritz Williams. 

Mr. Betts Walter C. Bellows. 

Ann Cruger Georgia Cayvan. 

Phyllis Lee Grace Henderson. 

Bessie Van Buren Effie Shannon. 

Mrs. Camilla de Peyster Mrs. Charles Walcot. 

Mrs. Van Buren " Thomas Whiffen. 

The success of "The Charity Ball" was imme- 
diate. It ran at the Lyceum Theatre for a long 
period, was played in many cities season after sea- 
son by the Lyceum stock company, and is now 



$Iapg of t&e $re£ent. 6 3 

given occasionally by resident and stock com- 
panies in various parts of the United States. 
Upon the retirement of Miss Cayvan from the 
Lyceum Company, Miss Isabel Irving succeeded 
to her roles, and among them was that of Ann 
Cruger in "The Charity Ball." The life of the 
play is doubtless due to the direct fashion in which 
its story of mingled happiness and suffering ap- 
peals to the playgoer, and to the theatrical skill 
with which its component parts were pieced to- 
gether by Mr. Belasco. Its well-knit texture, its 
frequent flashes of dramatic power, its clear char- 
acterization of modern types, all did much to offset 
the weakening effect of its spurious "comedy" 
scenes, the most of which were remarkable more 
for their vulgarity than for their wit. 

The Christian, a drama in prologue and four 
acts, founded by Hall Caine upon his novel of the 
same name, was produced at the Empire Theatre 
in Albany on September 23, 1898. The following 
two weeks it was played successively in Washing- 
ton and Providence, and on the 10th of October 
it began an engagement at the Knickerbocker 
Theatre in New York which continued until the 
following March. The original cast of charac- 
ters was : 

John Storm Edward J. Morgan. 

Lord Storm C. G. Craig. 

Horatio Drake John Mason. 



6 4 $Iap£ of tfje $rcgent. 



Lord Robert Ure Jameson Lee Finney. 

Archdeacon Wealthy George Woodward. 

Father Lamplugh R. J. Dillon. 

Parson Quayle Guy Nichols. 

The "Faro King" Myron Calice. 

The Manager Edgar Norton. 

Brother Paul Frank J. Keenan. 

Mrs. Callender Mrs. Georgia Dickson. 

Polly Love Ethel Marlowe. 

Betty Carrie Merrilees. 

Letty Perdita Hudspeth. 

Nettie Bessie Dunn. 

' Liza Edith Merrilees. 

Glory Quayle Viola Allen. 

The production of "The Christian" marked the 
beginning of Viola Allen's career as a star, and she 
continued to play Glory Quayle for two succes- 
sive seasons. Mr. Morgan as John Storm was 
succeeded by Joseph Haworth, Henry Jewett, and 
Robert Drouet, and in 1901-1902 he was starred 
in the title role, with Elsie Leslie as Glory Quayle. 
On October 16, 1899, "The Christian" was pro- 
duced in London at the Duke of York's Theatre, 
with Herbert Waring as John Storm and Evelyn 
Millard as Glory Quayle. It was continued there 
but a short time, and has never proved popular 
in England. 

When "The Christian" in dramatic form was 
announced as Hall Caine's unaided work, there 
was at least something to be hoped for. Mr. Caine 
has always been too good a craftsman to make of 
his own accord an ill-proportioned novel or an ill- 
constructed play, and although he has never shown 
himself anywhere near the equal of Wilkie Col- 
lins in logical plot-building and descriptive char- 




VIOLA ALLEN, 

As Glory Quayle, in the Christian. 



papg of tf>e $re£ent 6 5 

acter-writing, he has always made apparent his 
ability to follow a narrative from an explicit be- 
ginning to a logical end. But "The Christian" 
proved to be a very mediocre piece of dramatic 
work. In action it was slow, in dialogue it was 
verbose and long-winded, in character drawing it 
was distorted and frequently incomprehensible. 
Its progress was clogged by the introduction of 
characters obviously forced upon the scene to give 
local color and humor. Mr. Caine's theme was 
to outline a few years in the lives of Glory Quayle 
and John Storm, and to carry a woman through 
the world and its temptations into the folds of the 
Church and into her lover's arms. In the midst of 
their adventures the woman is invariably frivol- 
ous and virtuous, the man conspicuously austere 
and of course equally virtuous, uttering constant 
preachments upon the dangers of an evil life and 
the glories of righteous living. The novel ended 
with the death of John Storm; the play leaves him 
alive, with promise of a speedy union with Glory 
Quayle. 

The Climbers, a play of modern life in four acts 
by Clyde Fitch, was produced, under the manage- 
ment of Miss Amelia Bingham, at the Bijou Thea- 
tre, New York, on January 15, 1901. The cast 
was: 

Richard Sterling Frank Worthing. 

Edward Warden Robert Edeson. 

Frederick Mason John Flood. 

Johnny Trotter Ferdinand Gottschalk. 

5 



66 $fap£ of tfje ^regent 



Dr. Steinart George C. Boniface. 

Godesby J. B. Sturges. 

Ryder Mr. Kinard. 

Servant Henry Warwick. 

Jordan Edward Moreland. 

Leonard Henry Stokes. 

Footman Frederick Wallace. 

Richard Sterling, Jr Harry Wright. 

Mrs. Hunter Madge Carr Cooke. 

Mrs. Sterling Amelia Bingham. 

Jessica Hunter Maud Monroe. 

Clara Hunter Minnie Dupree. 

Miss Hunter Annie Irish. 

Miss Godesby Clara Bloodgood. 

Miss Sillerton Ysobel Haskins. 

Thompson Lillian Eldridge. 

Marie Florence Lloyd. 

"The Climbers" remained at the Bijou Theatre 
for several months, and in the early part of the 
following season it was played in Boston and 
other principal American cities. The changes in 
the cast then involved the appearance of James 
Carew as Frederick Mason, Alfred Fisher as Dr. 
Steinart, Marian Gardiner as Jessica Hunter, Ethel 
Winthrop as Miss Hunter, Bijou Fernandez as 
Miss Godesby, and Florence Lloyd as Miss Sil- 
lerton. 

The Colleen Bawn, a melodrama in five acts, 
was founded by Dion Boucicault upon "The Col- 
legians," a novel of Irish life by Gerald Griffin, 
who, as poet, novelist, and dramatist, would have 
made a lasting mark in the literary world had he 
not turned to the ecclesiastical life while his liter- 
ary reputation was yet in the making. He was 



$lap£ of tfje ^regent 6 7 

the author of several notable dramas, and his 
poems and novels displayed an imaginative gift 
which might have made him famous among the 
members of a race which has brought forth many 
remarkable literary geniuses. 

The first stage version of "The Collegians," en- 
titled "Eily O'Connor, or The Foster-Brother," 
was made by J. Egerton Wilks, and was pro- 
duced at the City Theatre in Grub Street, Lon- 
don, on July 23, 183 1. It was in two acts, and 
introduced the water-cave scene, which was the 
leading feature of later revivals. The cast in- 
cluded Mrs. Chapman as Eily O'Connor, Miss 
Forde as Ann Chute, Miss Ellen Tree as the 
Widow Cregan, James Vining as Hardress Cre- 
gan, John Kemble Chapman as Danny Mann, and 
J. B. Buckstone as Lowry Lobby, the prototype of 
Boucicault's Myles-na-Coppaleen. "Eily O'Con- 
nor" was subsequently revived at the Subscription 
Theatre in Surrey Street, Strand, afterward known 
as the Strand House, on October 29, 1832, with 
E. W. Elton as Hardress Cregan, John Kemble 
Chapman as Danny Mann, Sam Chapman as Lowry 
Lobby, Miss Mary Glover as Eily O'Connor, Miss 
Pearce as Ann Chute, and Miss Cooke as the 
Widozv Cregan. It did not achieve even average 
popularity, and soon disappeared from public view. 

The story of "The Colleen Bawn" was founded 
on fact, but as the novel was written about a dozen 
years after the actual murder, the author was com- 



68 $fap£ of tfje $tc$m. 

pelled to alter the true facts so as not to offend 
the living members of the culprit's family, who 
held high position in the city and county of Lim- 
erick. The facts in the case may be found in the 
"Recollections of an Irish Police Magistrate," 
published by Ward, Locke & Co. of London. 

Dion Boucicault's version, called "The Colleen 
Bawn, or The Brides of Garryowen," was pro- 
duced for the first time on any stage at Laura 
Keene's Theatre in New York on March 27, i860, 
with the following cast : 



Myles-na-Coppaleen Dion Boucicault. 

Har dress Cregan H. F. Daly. 

Danny Mann Charles Wheatleigh. 

Kyrle Daly Charles Fisher. 

Father Tom Dan Leeson. 

Mr. Corrigan G. Burnet. 

Bertie O 'Moore Mr. Henry. 

Hyland Creagh Milnes Levick. 

Corporal Mr. Clark. 

Eily O'Connor Agnes Robertson. 

Ann Chute Laura Keene. 

Mrs. Cregan Madame Ponisi. 

Sheelah Mary Wells. 

Kathleen Creagh Josephine Henry. 

Ducie Blennerhasset Miss Hamilton. 



It immediately became popular, and was played 
in London for the first time on September 10, i860, 
at the Adelphi Theatre, the cast including many 
famous English players. In addition to Mr. Bou- 
cicault and Miss Robertson, who played the char- 
acters they had assumed in New York, John Bil- 
lington appeared as Hardress Cregan, David 



$Iapg of tfje $tt$mt 6 9 

Fisher as Kyrle Daly, Edmund Falconer as Danny 
Mann, C. H. Stephenson as Father Tom, Mrs. 
Billington as Mrs. Cregan, and Mrs. Alfred Mellon 
as Ann Chute. There were no tanks of real water 
in those days, and so Myles rescued Eily from a 
pasteboard water cave, and came up smiling with 
her between the gauzes and the gaslights. 

Since then "The Colleen Bawn" has been per- 
formed throughout Europe, America, and Aus- 
tralia. The most notable revival was at the Prin- 
cess's Theatre in London on January 25, 1896, 
when Agnes Robertson took the part of Mrs. 
Cregan. 

The Conquerors, a drama in four acts by Paul 
M. Potter, was produced at the Empire Theatre, 
New York, on January 4, 1898, and ran there for 
a period of several months. It was cast as follows : 

Eric von Rodeck William Faversham. 

General von Brandenburg E. Y. Backus. 

Major von Wolfshagen J. H. Benrimo. 

Captain Theobald Korner Joseph Wheelock, Jr. 

Lieutenant Otto Berent John R. Sumner. 

Lieutenant Rudolph Heiberg G. W. Howard. 

Hugo, Baron of Grandpre Guy Standing. 

Abbe Dagobert W. H. Crompton. 

Jean Baudin, called Bobeche .... George Osbourne, Jr. 

¥ erI ? ,] tradesmen of Dinan R 0HN A ™ STR0NG - 
Rossignol 5 «•««■«»*» «/ *smun | Frank Brownlee. 

Cri-Cri \xn~hh*™;,*," i George C. Pearce. 

Chanteclaire ] ur P neomsts ■■■■\ William Workman. 

Yvonne de Grandpre Viola Allen. 

Jeanne Marie Baudin, her foster- 
sister Blanche Walsh. 

5* 



7 o pap£ of rtje ^regent 

Babiole de Grandpre, her sister. . Jessie Busley. 
Poulette \ ( May Robson. 

Anita f Parisian J LlLLIAN Thurgate. 

Elodie > Anncinp eirh "S Clara Bloodgood. 
Celine _ dancing girls Adeline Mann. 

Veronique ) \ Frances Com stock. 

Some time after the first performance, Mr. Pot- 
ter acknowledged his indebtedness to Guy de Mau- 
passant's "Mademoiselle Fifi," but no mention of 
that fact was made on the bill of the play. The ar- 
tistic and moral defects of "The Conquerors" raised 
an immediate clamor, but they were greatly exag- 
gerated. Its offenses lay plainly upon the surface, 
and not the least of these was the fact that while 
"The Conquerors" masqueraded as a high-class 
drama, it was really a melodrama of the most bla- 
tant type. It fairly bristled with sensational 
points, some of them very clever from a purely 
theatrical standpoint, but it lacked almost every 
logical element which goes toward the making of a 
complete drama. The plot was a constant riot of 
physical violence and mental emotions. Its por- 
trayal of real life — for it was not a romance, and 
it did professedly attempt to portray real life — was 
too one-sided to be accepted for a moment. Its 
characters were all either great saints or great 
sinners; their actions and emotions were all vio- 
lent, rapidly shifting, and incoherent. There was 
not the slightest touch of delicacy, of subtlety, of 
refinement in the play. 

Some time after the production of "The Con- 



pap£ of tfje $re$ent. 7 * 

querors," Jessie Millward succeeded Viola Allen 
as Fz>cww£, and Eleanor Moretti replaced Blanche 
Walsh as Jeanne Marie. On April 14, 1898, after 
some changes had been made in the plot, it was 
produced in London at the St. James's Theatre, 
with George Alexander as Eric, Julia Neilson as 
Yvonne, and Constance Collier as Jeanne Marie, 
but it failed to receive the approval of the London 
public. 

The Countess Valeska, a romantic drama in 
four acts, adapted from "Der Lange Preusse" 
("The Tall Prussian") by Rudolph Stratz, was 
produced at the Knickerbocker Theatre in New 
York on January 10, 1898. The cast was as 
follows : 

Achim von Lohde Bassett Roe. 

Herr von Lohde H. A. Langdon. 

Bogun T. L. Cartwright. 

Tuleikes T. J. Hart. 

Roger Alfred Kendrick. 

Muechenberg Donald MacLaren. 

Lamotta E. L. Stuart. 

General Lamarrois G. W. Anson. 

Major D'Auzoni Algernon Tassin. 

Lieutenant Colet Frederic Murphy. 

Grenadier Matthieu Dodson L. Mitchell. 

Count Bjelinski Edwin Howard. 

Lenski Martin Daly. 

Aweyde Herbert Eaton. 

Mohammed Bey James T. Barton. 

Rustan Frank Bernard. 

Nepomuk Charles W. Butler. 

Countess Valeska Julia Marlowe. 

Elizabeth Alice Parks. 

Frau Ursula Mrs. Sol Smith. 

Basir Katherine Wilson. 



72 papg of tfjc $re#ent. 

Stratz's play was first acted at the Royal Schaus- 
piel-Haus, Berlin, on December 21, 1896, meeting 
with success among the Germans, as its romantic 
story appealed to all lovers of the drama. The 
scenes were laid in Poland on the eve of the battle 
of Friedland in 1807, at the time when Napoleon 
was allowing the world to believe that he was 
really interested in Poland, and the play concerned 
the fortunes of the Countess Valeska, who was 
loyal to Poland. She has saved the life of Achim 
von Lohde (the Tall Prussian) by allowing him 
to represent himself as her overseer, is madly and 
wholly in love with him, and when Achim, urged 
by his father, is prepared to assist in a plot to 
assassinate Napoleon, the struggle between pa- 
triotism and love becomes the key-note of the play. 
The interest in the characters was well sustained 
to the end, and American playgoers were as much 
pleased with the play as were the Berlin theatre- 
goers. 

Miss Marlowe appeared to good advantage in 
the name-part, the character offering opportuni- 
ties for her to show her abilities in comedy and in 
both sentimental and emotional scenes. Mr. Roe 
was a manly Achim, and Mrs. Smith was entertain- 
ing in a character part. The play proved an agree- 
able addition to Miss Marlowe's repertory, and 
after she had given it throughout the country it 
was eagerly seized upon by the stock companies, 
which found it a drawing card. 



pap£ of tfje $re£ent. 73 

The Cricket on the Hearth, a comedy in three 
acts, adapted by Dion Boucicault from Dickens's 
story, was produced, under the title of "Dot," at 
the Winter Garden, New York, on September 14, 
1859. The cast was a memorable one, including 
Joseph Jefferson as Caleb Plummer, Harry Pear- 
son as John Peerybingle, "Dolly" Davenport as 
Edward Plummer, Agnes Robertson as Dot, Sara 
Stevens as the blind Bertha, Mrs. John Wood as 
Tilly Slowboy, and Mrs. W. R. Blake as Mrs. 
Fielding. Later in the same season, "Dot" was 
brought out at the Varieties Theatre in New Or- 
leans, with John E. Owens as Caleb Plummer, 
C. W. Couldock as John Peerybingle, Charlotte 
Thompson as Dot, Sara Stevens as Bertha, Polly 
Marshall as Tilly Slowboy, and Mrs. W. A. Chap- 
man as Mrs. Fielding. The play was immensely 
popular in New Orleans, and ran for two months, 
an unprecedented period for that time and that city. 
The origin of "The Cricket on the Hearth" 
as a play is somewhat singular. Dickens's story 
was first dramatized by two French playwrights 
from the pages of "All the Year Round," in which 
it appeared serially, and was performed in Paris 
under the title of "Le Marchand d'Enfants," with 
the great Taillard in the leading role. Dion Bou- 
cicault happened to see the piece in Paris, and, 
without knowing its origin, made an English ver- 
sion for Joseph Jefferson. Not until rehearsals 
began was the discovery made that it was drawn 



74 pap£ of rtje $te£ent 

from Dickens's story. The characters were at 
once given the names by which Dickens had chris- 
tened them, and the play was immediately success- 
ful. Soon after the production, however, Jefferson 
and Boucicault had a disagreement, and the origi- 
nal version was discarded by the actor for one pre- 
pared, it is said, by Albert Smith. In this the 
relations between Dot, John Peerybingle, Caleb 
Plummer, blind Bertha, and Tilly Slowboy were 
carefully interwoven, the second act containing the 
pious deception of Bertha, and the third the pa- 
thetic disclosure of that deception. 

For forty years and more Joseph Jefferson has 
repeated, season after season, his interpretation 
of Caleb Plummer. "Many of his admirers," Wil- 
liam Winter has written, 1 "have long regarded his 
Caleb Plummer as the best of his embodiments. 
The right method of estimating the full stature 
of an actor is to deduce it not from one of his 
works, but from all of them. The performance 
of Caleb Plummer was a touching exemplification 
of dramatic art applied to the expression of sim- 
ple tenderness; but it revealed only one phase of 
the actor's strength. Caleb Plummer is a more 
pathetic person to think about than to see. You 
cannot read his story without tears. But the mo- 
ment the actor makes him visible he runs the risk 
of absurdity or of tediousness in the result, for 

1 "The Life and Art of Joseph Jefferson." 
By William Winter. Page 225. 



$iapg of tfje $rcgcnt. 75 

he must make the personality amusing, and he 
must make the self-sacrifice beautiful. The audi- 
ence must be made to laugh at him — and to love 
him while they laugh. Jefferson's sincerity was 
not more obvious than his consummate skill. He 
lived in the character. He never lapsed out of the 
feeling of it. He kept with nature's precision the 
woeful face, and the forlorn, blighted figure — a 
being sequent on years of penury." 

Cyrano de Bergerac, a heroic comedy in five 
acts by Edmond Rostand, was produced by Coque- 
lin at the Theatre de la Porte St. Martin, Paris, 
on December 28, 1897. Coquelin played the title 
role, with Mme. Marie Legault as Roxane, M. 
Volny as Christian de Neavillette, M. Desjardins 
as the Comte de Guiche, and M. Jean Coquelin as 
Ragueneau. The play was immediately published 
in Paris, and in it Rostand paid the following 
extraordinary dedicatory tribute to the actor and 
producer of his Cyrano: "C'est a l'ame de Cyrano 
que je voulais dedier ce poeme. Mais puisqu'elle 
a passe en vous, Coquelin, c'est a vous que je le 
dedie." "Cyrano de Bergerac" was continued at 
the Porte St. Martin until June 29, 1898, and a 
week later Coquelin began a London engagement 
at the Lyceum Theatre with the first performance 
in that city of Rostand's play. On December 10, 
1900, at the Garden Theatre, New York, the play 
was performed for the first time in this country 



76 pap£ of tfje $te£ent. 

in French, with Coquelin as Cyrano and Sarah 
Bernhardt as Roxane. 

The fame of "Cyrano de Bergerac" spread 
throughout the world within a few months of its 
Paris production, and the following season saw 
its performance in the United States in various 
translations and under numerous managements. 
It was first played in English, in a translation by 
Howard Thayer Kingsbury, at the Garden Thea- 
tre, New York, on October 3, 1898, with Richard 
Mansfield as the leading actor and by a company 
under his personal direction. Mr. Mansfield of 
course played Cyrano, and he was supported by 
Arthur Forrest as the Comte de Guiche, William 
Courteney as Christian, A. G. Andrews as Rague- 
nean, and Margaret Anglin as Roxane. Another 
version, based on a published translation by Gladys 
Thomas and Mary F. Guillemard, was hastily pre- 
pared by Augustin Daly and was performed, also 
on October 3, at the Chestnut Street Opera House, 
Philadelphia, with Charles Richman as Cyrano, 
James Young as Christian, Sidney Herbert as the 
Comte de Guiche, William F. Owen as Ragueneau, 
and Ada Rehan as Roxane. This version, how- 
ever, proved a failure, and was withdrawn after 
a brief tour through Boston, Baltimore, and a few 
other cities. Mr. Mansfield continued "Cyrano" 
in his repertory throughout the season of 1898-99. 

Other versions, cut and mangled beyond all rec- 
ognition, were performed by various stock com- 



$Iap£ of tf)e ^regent. 77 

panies catering to supposed popular tastes, but 
they died an early and deserved death. Despite 
the craze aroused by "Cyrano," M. Rostand imme- 
diately took high place in modern dramatic liter- 
ature, and soon easily gained a seat in the French 
Academy. His play, which was founded on the 
adventures of the real Cyrano de Bergerac, whose 
name occupies a small place in French literature 
and French history, was published in three sepa- 
rate translations in this country — the two already 
referred to and in another by Gertrude Hall. 

"Cyrano de Bergerac," in an English version by 
Louis N. Parker and Stuart Ogilvie, was per- 
formed in London for the first time in English at 
Wyndham's Theatre, April 19, 1900, with Charles 
Wyndham as Cyrano, Alfred Kendrick as Chris- 
tian, Jerrold Robertshaw as De Guiche, George 
Giddens as Ragueneau, and Mary Moore as Rox- 
ane. It was not a success. 

The Dancing Girl, a drama in four acts by 
Henry Arthur Jones, was produced by Beerbohm 
Tree at the Theatre Royal, Haymarket, in Lon- 
don, on January 15, 1891. The cast : 

The Duke of Guisebury Beerbohm Tref. 

Hon. Reginald Slingsby Frederick Kerr. 

David Ives Mr. Fernandez. 

John Christison Fred Terry. 

Lady Bawtry Rose Leclercq. 

Faith Ives Blanche Horlock. 

Drusilla Ives Julia Neilson. 

Sybil Crake Rose Norreys. 



7 s pap£ of tije ^regent 

The play met with so favorable a reception in 
London that it was immediately secured for Ed- 
ward H. Sothern, who desired to appear in more 
serious characters than those hitherto provided for 
him in "Lord Chumley" and "The Highest Bid- 
der," upon which he had staked the first part of 
his starring career. He produced it in New York 
at the Lyceum Theatre on August 31, 1891, the 
cast including Mr. Sothern as the Duke of Guise- 
bury, Morton Selten as Slingsby, Augustus Cook 
as David Ives, Bessie Tyree as Faith Ives, Jennie 
Dunbar as Sybil Crake, and Virginia Harned as 
Drusilla Ives. Later, Harry Eytinge succeeded 
Augustus Cook as David Ives. For some reason, 
"The Dancing Girl" did not remain long in Mr. 
Sothern's repertory, and was soon discarded for 
the plays which have led up to his recent success 
as a romantic actor. 

Mr. Tree opened his second American tour in 
Washington on November 23, 1896, with his first 
performance in this country of "The Dancing 
Girl." He gave the play for the first time in New 
York at the Knickerbocker Theatre on December 
7, with Kate Rorke as Drusilla Ives and Lionel 
B rough as David Ives. 

Dandy Dick, a farce in three acts by Arthur W. 
Pinero, was produced at the Court Theatre, Lon- 
don, on January 27, 1887, and was given one hun- 
dred and eighty-four consecutive performances 



$lap£ of tfje $re£ent 79 

before the exigencies of the theatrical season com- 
pelled its withdrawal. It was later revived suc- 
cessfully at Toole's Theatre, with only two changes 
in the cast, Alfred Bishop appearing as Blore, and 
Eva Wilson as Sheba. The original cast was : 

The Very Rev. Augustin Jedd, D.D. . . John Clayton. 

Sir Tristram Mardon, Bart Edmund Maurice. 

Major Tarver F. Kerr. 

Mr. Darbey H. Eversfield. 

Blore Arthur Cecil. 

Noah Topping W. H. Denny. 

Hatcham W. Lugg. 

Georgiana Tidman Mrs. John Wood. 

Salome Marie Lewis. 

Sheba Rose Norreys. 

Hannah Topping Laura Linden. 

"Dandy Dick" received occasional revivals on 
the London stage, the most important being that 
at Wyndham's Theatre on February 8, 1900, Mr. 
Maurice and Mr. Denny acting the characters they 
assumed in the original production. Alfred Bishop 
appeared as the Rev. Dr. Jedd, A. Vane Tempest 
as Major Tarver, Stanley Cooke as Mr. Darbey, 
George Giddens as Blore, Violet Vanbrugh as 
Georgiana Tidman, Maud Hoffman as Salome, 
Grace Lane as Sheba, and Annie Hughes as Han- 
nah Topping. 

The first performance of "Dandy Dick" in Amer- 
ica was given on October 5, 1887, at Daly's Thea- 
tre, New York, the cast including Charles Fisher 
as the Rev. Dr. Jedd, George Clarke as Sir Tris- 
tram Mardon, John Drew as Major Tarver, Otis 



so $fop£ of tfje ^regent. 

Skinner as Mr. Darbey, James Lewis as Blore, and 
Ada Rehan as Georgiana Tidman. It was per- 
formed by Mr. Daly's company only thirty-two 
times. A contemporary critic said that Miss Rehan 
was "not over-interesting as Georgiana Tidman." 
A notable production of "Dandy Dick" was given 
by the celebrated stock company at the Boston 
Museum, Alfred Hudson appearing as the Rev. 
Dr. Jedd, Charles Barron as Sir Tristram Mardon, 
Edgar L. Davenport as Major Tarver, William 
Seymour as Mr. Darbey, George W. Wilson as 
Blore, Annie Clarke as Georgiana Tidman, and 
Isabelle Evesson as Sheba. "Dandy Dick" has 
been revived occasionally in this country as well 
as in England. 

The Danites, a melodrama in five acts by Joa- 
quin Miller, was produced at the Broadway Thea- 
tre in New York on August 22, 1877. The cast 
was as follows : 

Alexander McGee McKee Rankin. 

Charley Godfrey Louis Aldrich. 

William Wise W. H. Lytell. 

Thomas Adolphus Grosvenor . . . W. J. Coggswell. 

Grasshopper Jake B. T. Ringgold. 

Bill Hickman Alexander Fitzgerald. 

Hezekiah Carter G. B. Waldron. 

Washee Washee Harry Pratt. 

Georgie Williams Little Manie. 

Nancy Williams Kittie Blanchard. 

Huldah Brown Lillie Eldridge. 

Sallie Sloan Ida Jeffreys. 

Henrietta Dickson Ada Gilman. 



$Iapg of tfje ^regent 81 

"The Danites," in spite of its author being a 
poet of repute, could not be seriously considered as 
a work of dramatic art. Its literary pretensions 
were small, its faults of construction were the usual 
faults of melodrama, and had the play been pub- 
lished it would have had few readers. But it was 
a play for the stage, not the closet, and its author 
doubtless never thought of his reputation as a 
poet, but simply sought to construct a play that 
should take with the public. And in this he suc- 
ceeded beyond his wildest hopes, for the fresh, 
original American types, the local color, the pic- 
turesque and connected story, clean, sharp-cut, 
convincing, carried the piece to a remarkable popu- 
larity — a popularity to which the actors contributed 
and in which they shared. Mr. Rankin made a 
great success as Alexander McGee, while his wife, 
Kittie Blanchard, portrayed the character of Nancy 
Williams with such fine insight into the various 
phases of that young woman's changing person- 
ality that these two parts alone would have saved 
the fortune of even a poor play. For years these 
two continued to appear in these characters, and 
then Mr. Rankin alone starred in the piece with 
unwaning popularity. Within the past few years 
the stock companies have obtained possession of 
"The Danites," and it has shown as good drawing 
powers with the local players as with the stars. 
Probably few American plays have been so often 
given during the last quarter-century as this, and 
6 



82 $Iap£ of tije $tt$mt. 

it bids fair to run on indefinitely so long as the 
stock companies want an exciting and entertain- 
ing drama. 

David Garrick, a comedy in three acts adapted 
by Thomas W. Robertson from a French drama 
called "Sullivan," was first tried tentatively at the 
Prince of Wales's Theatre in Birmingham, Eng- 
land, with E. A. Sothern in the title role. Mr. 
Sothern imagined that he had failed to interpret 
the character of David Garrick correctly, but the 
play was nevertheless taken to London, and on 
April 30, 1864, was performed at the Haymarket 
Theatre. The original draft of "David Garrick" 
was sold to a dramatic publisher for £10, and it 
had been laid aside for eight years before Sothern 
hit upon it as an appropriate character to follow 
Lord Dundreary. The first actress to interpret 
Ada Ingot was Miss Nellie Moore, and to her act- 
ing Mr. Sothern generously attributed the London 
success of the production. "In his early perform- 
ances in 'David Garrick' — especially the scenes 
in which he attempts to disenchant the citizen's 
daughter by assuming the excesses of a drunkard 
— Mr. Sothern was droll and effective, without 
being overstrained, and there was real feeling in 
his sense of the humiliation he inflicts upon him- 
self to save the girl who loves him from a mis- 
placed passion. His declamation of some tragic 
lines, though a little heightened for the special 




EDWARD A. SOTHERN, 

As David Garriek. 



$lapg of tfje $re£ent. 8 3 

occasion, was so fervent that it might have been 
effective if his acting had been in earnest. More 
than once, when he expressed his besetting desire 
to play tragedy, and his fear that, after Lord Dun- 
dreary, the public would not accept him, 'Deliver 
tragedy,' I said, 'as you do in "David Garrick," 
only omit the touch of burlesque, and you may 
succeed.' 'Ah! but it is just because in "David 
Garrick" it is burlesque,' he replied, 'that I dare 
let myself go.' This reply seemed to me to light 
up the entire situation." x 

Mr. Sothern soon made his David Garrick a 
prominent stage figure on both sides of the ocean. 
His successors in the part have been numerous, 
and by playgoers who remember the early days 
of "David Garrick" they are always judged in com- 
parison with the first interpreter of the character. 
Charles Wyndham, Lawrence Barrett, Salvini, 
Edward S. Willard, Robert Downing, N. C. Good- 
win, and Creston Clarke are among the many ac- 
tors who have played "David Garrick" during the 
forty years which have elapsed since its production. 

David Harum, a play in three acts by R. and 
M. W. Hitchcock, founded upon Edward Noyes 
Westcott's novel of the same name, was produced 
at the Lyceum Theatre in Rochester, New York, 
on April 9, 1900, and, after a week in that city, 

1 "Our Recent Actors." By Westland Marston. 
London : 1890. Page 323. 



8 4 $fop£ of tfje ^regent 

was given for a fortnight in Syracuse, Buffalo, 
and Albany, with William H. Crane as the Home- 
ville banker. Having thus put the play in shape 
for next season's presentation, Mr. Crane went to 
Cohasset, Massachusetts, for a long summer's out- 
ing, and on October I, 1900, opened his season at 
the Garrick Theatre in New York with the play 
thus cast: 

David Harum William H. Crane. 

John Lenox George S. Probert. 

General Wolsey Frank Burbeck. 

Chet Timson Charles Jackson. 

Dick Larribee William Sampson. 

Deacon Perkins Homer Granville. 

'Zeke Swinney Sheridan Tupper. 

Amos Elright Will Dean. 

Dug Robinson George F. Devere. 

Peleg Hopkins Charles Avery. 

Bill Montaig W. Dupont. 

Mary Blake Katherine Florence. 

Aunt Polly Bixby Kate Meek. 

Widow Cullum Lois Frances Clark. 

The dramatized version of "David Harum" gave 
as much pleasure to theatre-goers as the novel itself 
had given to its readers ; for, although the play did 
not possess much dramatic merit, the humor of the 
story and the talents of Mr. Crane made the piece 
a great popular success. There was about as 
much plot to the play as there was to the book, and 
the parts of the drama which proved the most 
entertaining were those which had been trans- 
ferred bodily from the pages of the novel. The 
principal figure was Harum himself, who was kept 



papg of tfje $tt$mt. 8 5 

on the stage during almost the entire action of the 
play, and the comedian succeeded in giving a pic- 
ture of the shrewd, sharp, but kindly country 
banker and horse-trader which was instantly rec- 
ognized by any one who had read the novel. Mr. 
Crane contrived to emphasize some of the most 
amiable and entertaining characteristics of the 
character, bringing out the humor, the cleverness, 
and the true big-heartedness of the Central New 
Yorker. It would probably be agreed that the 
actor had never done a finer piece of work in his 
whole career, and the fact that he is still appearing 
in the same part, and is likely to continue to pre- 
sent it for some seasons to come, shows how 
pleased the public has been with his masterpiece. 
The entire cast was excellent, and although the 
following season a few changes were made in it, 
they were of little moment. Perhaps the players 
who most completely realized their prototypes in 
the novel were Mr. Jackson as Chet and Miss Clark 
as the Widow. Each of these seemed to have 
stepped out from the pages of the book, and their 
lifelike impersonations were a treat and a delight. 
Indeed, while the critics could not conscientiously 
praise the play, they had only words of praise for 
the players. 

The Devil's Disciple, a drama in three acts by 
George Bernard Shaw, was produced by Richard 
Mansfield at Harmanus Bleecker Hall, Albany, 



86 payg of tty $>re£ent. 

New York, on October i, 1897, with the following 
cast : 

Anthony Anderson Ben Johnson. 

Judith Anderson Beatrice Cameron. 

Mrs. Annie Dudgeon Minnie Monk. 

Richard Dudgeon Richard Mansfield. 

Christopher Dudgeon A. G. Andrews. 

Uncle William Dudgeon W. N. Griffith. 

Uncle Titus Dudgeon Mr. Lefevre. 

Essie Miss Briscoe. 

Lawyer Hawkins T. M. Hunter. 

General Burgoyne Arthur Forrest. 

Major Swindon Joseph Weaver. 

Rev. Mr. Brudenell William Courteney. 

A Sergeant Francis Kingdon. 

It was immediately taken to New York, and on 
October 4 following was produced at the Fifth 
Avenue Theatre, with the same cast as that above 
given. "The Devil's Disciple" is in many ways a 
remarkable play. It was founded on a sensible, 
logical, coherent story. Its fable was simple and 
uninvolved, yet forcible and fascinatingly interest- 
ing. It offered no entanglement to keep the brain 
awhirl in search of a solution. It could be fol- 
lowed steadily and thoughtfully with no effort 
whatever in understanding it, but requiring the 
utmost effort to appreciate the ideas which under- 
lay it and upon which it was built. The popularity 
of "The Devil's Disciple" undoubtedly arose from 
its child-like tale, and in spite of its ventures into 
the land of abstract philosophy. Richard Dudgeon, 
its hero, was no common hero. As in the case of 
"Arms and the Man," he was the one honest char- 
acter amid a multitude of rogues, although the 



papjsf of tfje ^regent. s 7 

world's opinion set him down as a rogue among 
saints. But Captain Bluntschli and he had little 
else in common beyond that. As the Bulgaria of 
"Arms and the Man" might have been any civilized 
country where liars are plenty, so might the New 
Hampshire of "The Devil's Disciple" have been 
any land where hypocrisy prevails. It really mat- 
tered nothing that Richard Dudgeon lived in a 
New Hampshire village in the year 1777, or that 
he was surrounded by as arrant a crowd of Puri- 
tans as ever graced the pages of history or fiction. 
It mattered not that the British army was on the 
field to give color and picturesqueness to the story. 
It mattered only that Dudgeon was a disciple of 
the devil, a heretic, a blasphemer, a roisterer, but, 
more than all else, a hero who offered to give up 
his life on the gallows as an American rebel, not 
because he wished to save the parson who cow- 
ardly deserted him, not because he loved the par- 
son's wife, but because it suited his nature to do 
so. "What does anything matter?" he cries. Mr. 
Mansfield was not alone among his comrades as an 
apt interpreter of Shaw's philosophy. He acted 
Dudgeon with all his powerful, caustic, sardonic 
humor, forcing us to believe in the man and to ac- 
cept him as the hero he was. With all his incom- 
parable gifts as an actor, Mr. Mansfield has one 
gift which transcends them all, the intellectual 
power to absorb himself completely within a char- 
acter. The soul of the character is his. 

"The Devil's Disciple" was acted by Mr. Mans- 



88 pap£ of tfje $)cc^ent. 

field throughout the following season. It was 
not produced in England until September 26, 1899, 
when Murray Carson brought it out at the Prin- 
cess of Wales's (Kennington) Theatre, London, 
with himself in the title role, F. H. Macklin as 
Anthony Anderson, and Grace Warner as Judith 
Anderson. 

Diplomacy, a drama in four acts adapted by 
Clement Scott and B. C. Stephenson from Sar- 
dou's "Dora," was produced at the Prince of 
Wales's Theatre, London, on January 12, 1878. 
Joseph Knight, the veteran critic of the "Athe- 
naeum," asserted that this performance of "Diplo- 
macy" was "as good as that which was seen a year 
ago at the Vaudeville, though the cast on the occa- 
sion last named included such artists as Mile. 
Blanche Pierson, Madame Alexis, MM. Paraed, 
Pierre Berton, Dieudonne, and Train." The Eng- 
lish company was made up of the leading London 
players of the day. Mr. Kendal carried off the 
honors of the evening in the character of Captain 
Beauclerc, and Mrs. Kendal played Dora in her 
most effective manner, realizing fully the min- 
gled humiliation and indignation beneath which the 
wronged wife is crushed. Mr. Beauclerc was 
played by John Clayton, Baron Stein by Arthur 
Cecil, the Countess Zicka by Mrs. Bancroft, and 
the Marquise de Rio Zares by Miss Lethiere. 
"Diplomacy" was first played in this country on 



$Iapg of tfje $te$cnt. 8 9 

April i, 1878, at Wallack's Theatre in New York, 
with the following cast : 

Henry Beauclerc Lester Wallack. 

Julian Beauclerc Henry J. Montague. 

Count Orloff Frederic Robinson. 

Algie Fairfax W. R. Floyd. 

Baron Stein J. W. Shannon. 

Countess Zicka Rose Coghlan. 

Dora Maud Granger. 

Marquise de Rio Zares Madame Ponisi. 

A revival at the same house on March 16, 1885, 
included Lester Wallack, Rose Coghlan, and Mme. 
Ponisi in their original characters, Osmond Tearle 
as Julian Beauclerc, Harry Edwards as Baron 
Stein, and Annie Robe as Dora. "Diplomacy" was 
first brought out in Boston by Lester Wallack at the 
Park Theatre for the week of May 11, 1885, and 
on March 15 of the following year was produced 
at the Boston Museum. A revival at the Museum 
on October 3, 1887, enlisted the services of Charles 
Barron as Henry Beauclerc, Edgar L. Davenport 
as Julian Beauclerc, Alfred Hudson as Baron Stein, 
Frazer Coulter as Count Orloff, Annie Clarke as 
the Countess Zicka, Isabelle Evesson as Dora, and 
Mme. Ponisi as the Marquise. When Rose Cogh- 
lan became a star, "Diplomacy" became a leading 
feature in her repertory. It has received occa- 
sional revivals both in England and America. 

The District Attorney, a drama of modern 
metropolitan life by Harrison Grey Fiske and 



9 o pap£ of tfje ^regent. 

Charles Klein, was produced at the American 
Theatre in New York on January 21, 1895. The 
cast was : 

John Stratton Wilton Lackaye. 

Matthew Brainerd Frank Mordaunt. 

General Ruggles George Fawcett. 

Daniel McGrath Odell Williams. 

Wellington Gridley Charles S. Abbe. 

Frank Pierson Edward J. Morgan. 

Williams Lawrence Eddinger. 

Vernon Holt W. B. Smith. 

Maxwell Harry E. Chase. 

Jamison Alfred Blakeley. 

Corrigan J. E. Coyne. 

Watson T. E. Richmond. 

Grace Brainerd Annie Irish. 

Helen Knight Effie Shannon. 

Madge Brainerd Adele Ritchie. 

Elise Emma Stevens. 

Good plays of modern life were so scarce that 
"The District Attorney" was more than ordi- 
narily welcome. The probings of the famous 
Lexow Committee found in it their expression in 
dramatic form. Its plot was sensible and logical, 
its characters were genuine, and its development 
of political conditions in a great city moved for- 
ward to a definite conclusion. Its merit lay in 
the form of its expression and in the exact man- 
ner in which the dramatists caused every situation 
and every character to make for the completeness 
of their story. 

Since its original production, "The District 
Attorney" has been revived occasionally by local 
stock companies. 



papg of tf|e ^regent. 91 

Divorce, a comedy by Augustin Daly, was pro- 
duced at the Fifth Avenue Theatre, New York, on 
September 5, 1871, and ran there until March 17, 
1872. The cast was : 

Alfred Adrianse D. H. Harkins. 

Mr. Burritt W. J. Le Moyne. 

DeWolf DeWitt William Davidge. 

Templeton Jitt James Lewis. 

Captain Lynde Louis James. 

Rev. Harry Duncan Henry Crisp. 

Judge Kemp David Whiting. 

Mrs. Ten Eyck Fanny Morant. 

Fanny Ten Eyck Clara Morris. 

Miss Lu Ten Eyck Fanny Davenport. 

Grace Linda Dietz. 

Kitty Ida Yearance. 

Mrs. Kemp Mrs. G. H. Gilbert. 

Flora Penfield Mary Cary. 

Jim Owen Fawcett. 

Dr. Lang George F. DeVere. 

Christmas F. Chapman. 

Pam J. H. Burnett. 

Guinea W. Beekman. 

Molly Nellie Mortimer. 

Although some of the scenes and characters in 
"Divorce" were taken from Anthony Trollope's 
novel, "He Knew He was Right," it was in no 
wise an adaptation. In atmosphere and spirit, it 
was wholly American. The acting contributed not 
a little to its popularity. Mr. Le Moyne, Mr. 
James, Mr. Crisp, Miss Yearance, Miss Cary, and 
Mr. Fawcett all made their first appearances in 
Mr. Daly's company in "Divorce." On Washing- 
ton's Birthday, in 1872, Mr. Daly made a venture- 
some experiment by taking his company over to 



92 $Iap£ of t&e $«gent. 

Philadelphia to act "Divorce" at the Chestnut 
Street Theatre in the afternoon, returning to the 
home theatre in time for the regular evening per- 
formance. At the close of the run of "Divorce," 
there was a month of revivals, George H. Griffiths 
making his first appearance as Jesse Rural on 
March 19, and after that "Article 47" was brought 
out. 

In the midst of its New York run, Boston play- 
goers were enabled to see "Divorce," which was 
presented at the Boston Museum for the first time 
on December 2, 1872. It ran only two weeks and 
four days, with the following cast of favorite Mu- 
seum players : 

Alfred Adrianse Charles Barron. 

Mr. Burritt Frank Hardenbergh. 

DeWolf DeWitt Robert F. McClannin. 

Temp let on Jitt William Warren. 

Captain Lynde J. Alfred Smith. 

Rev. Harry Duncan Hart Conway. 

Judge Kemp James Burrows. 

Jim J. H. Ring. 

Pam James Nolan. 

Dr. Lang J. Salisbury. 

Fanny Ten Eyck Annie Clarke. 

Miss Lu Ten Eyck Fannie Marsh. 

Mrs. Ten Eyck Mrs. J. R. Vincent. 

Grace Ella Burns. 

Flora Fanny Skerrett. 

Kitty Belle Butler. 

Molly Amy Ames. 

Alfred Little Portia. 

Templeton Jitt was not one of Mr. Warren's 
most prominent roles, and on his retirement from 



pfapg of tfje ^regent. 93 

the famous Museum company, his place in the 
revivals of "Divorce" was taken by George W. 
Wilson. "Divorce" is now played occasionally by 
local stock companies. 

Dr. Jekyll and Mr. Hyde, a drama in four acts 
by T. Russell Sullivan from Robert Louis Steven- 
son's story of "The Strange Case of Dr. Jekyll 
and Mr. Hyde," was produced by Richard Mans- 
field at the Boston Museum on May 10, 1887. Mr. 
Mansfield was supported by members of the Bos- 
ton Museum stock company, the cast being as 
follows : 

Mr. J Hyde } Richard Mansfield. 

General Sir Danvers Carew Boyd Putnam. 

Dr. Lanyon Alfred Hudson. 

Gabriel Utterson Frazer Coulter. 

Poole James Burrows. 

Inspector Newcomen Arthur Falkland. 

Jarvis J. K. Applebee, Jr. 

Agnes Carew Isabelle Evesson. 

Mrs. Lanyon Kate Ryan. 

Rebecca Moor Emma Sheridan. 

Both the play and Mr. Mansfield's acting of the 
dual role made an immediate sensation, and it has 
continued in his repertory down to the present 
day. On August 4, 1888, at the Lyceum Theatre, 
in Mr. Sullivan's play, Mr. Mansfield made his first 
appearance in London as a leading actor, being 
supported by his own company, D. H. Harkins 
appearing as Dr. Lanyon, John T. Sullivan as 



94 $fep£ of tfje $re£ent. 

Gabriel Utterson, Miss Emma Sheridan as Re- 
becca Moor, and Miss Beatrice Cameron as Agnes 
Carew. On the 6th of the same month, at the 
Opera Comique, a rival dramatic version of Ste- 
venson's story, made by Daniel E. Bandmann, 
was produced by that actor, but he gained little 
popularity, and the piece was withdrawn after a 
few performances. He had previously given the 
same play in various American cities, notably in 
New York at Niblo's Garden, in March, 1888, and 
in Boston at the Boston Theatre the following 
month. Other actors who have essayed the dual 
role in various versions are Theodore Hamilton, 
Thomas E. Shea, Charles Leonard Fletcher, and 
Dore Davidson. 

Don Cesar's Return, a drama in four acts by 
Victor Mapes, is founded upon the famous stage 
character Don Ccesar de Bazan, and was produced 
at the Empire Theatre in Albany on August 29, 
1 90 1, the cast being as follows : 

Carlos I Wilton Lackaye. 

Don Jose Theodore Roberts. 

Don Ccesar de Bazan James K. Hackett. 

Sangrado Thomas A. Hall. 

Benuto George Le Soir. 

Lazarillo Fernandu Eliscu. 

Marquis of Gonzalo William J. Le Moyne. 

Pedro William Lamp. 

Diego Wayne Gray. 

A Boatman Charles Florence. 

A Judge Mervyn Dallas. 

Second Judge John E. Mackin. 




JAMES K. HACKETT, 

A.s Don Caesar, in Don Caesar's Return. 



$Iapg of tfje $re£cnt. 9 s 



Court OMcer ) TT „ 

Captain of the Guard \ Hale Hamilton - 

Captain of the Alcazars Sidney Price. 

A Herald William Post. 

Queen of Spain Maude Roosevelt. 

Marquise de Gonzalo Virginia Buchanan. 

Maritana Florence Kahn. 

Antonia Charlotte Walker. 

The New York engagement of "Don Caesar's 
Return" began at Wallack's Theatre on Septem- 
ber 3, and the play was continued there for about 
three months. When its tour began, the cast had 
undergone several important changes, Brigham 
Royce appearing as Carlos, Joseph Brennan as 
Don Jose, Edward Donnelly as Sangrado, Thomas 
A. Hall as the Marquis of Gonzalo, Jane Oaker as 
Maritana, and Grace Barber as Antonia. In Feb- 
ruary, "Don Caesar's Return" was replaced in Mr. 
Hackett's repertory by a dramatization of "The 
Crisis." 

Du Barry, a drama in four acts written by David 
Belasco for the exploitation of the unique theat- 
rical talents of Mrs. Leslie Carter, was produced 
at the National Theatre in Washington on Decem- 
ber 12, 1 90 1, and at the Criterion Theatre in New 
York on December 25. The play proved itself a 
triumph of stagecraft, and gained an instantaneous 
popularity. The important features of the cast 
were as follows : 

Louis XV, King of France Charles A. Stevenson. 

Comte Jean du Barry Campbell Gollan. 



96 papg of tf)e ^regent. 



Comte Guillaume Beresford Webb. 

Due de Brissac Henry A. Weaver, Sr. 

Cosse-Brissac Hamilton Revelle. 

The Papal Nuncio H. R. Roberts. 

Due de Richelieu Frederick Perry. 

Terray C. P. Flockton. 

Maupeau H. G. Carleton. 

Due d'Aiguillon Leonard Cooper. 

Denys Claude Gillingwater. 

Lebel Herbert Millward. 

M. Labille Gilmore Scott. 

Vaubemiere Walter Belasco. 

Scalo J. D. Jones. 

Jeanette Vaubemiere (La du 

Barry) Mrs. Leslie Carter. 

Hortense Eleanor Carey. 

Comtesse de Mar sen Edith Van Benthuysen. 

Sophie Irma Perry. 

Marquise de Crenay Dora Goldthwaite. 

Madame la Dauphine Helen Hale. 

Marquise de Quesney Blanche Rice. 

Sophie Arnauld Helen Robertson. 



"The purpose of Mr. Belasco's play," wrote a 
contemporary critic, "seems to be threefold — to 
set upon the stage pictures of life at Paris and 
Versailles toward the end of the reign of Louis XV, 
with a scene or two from the Revolution as an 
epilogue; to make the central figure therein Mme. 
Du Barry, to characterize the woman, and to un- 
fold in the process a dramatic story ; and to afford 
full and shrewdly devised opportunity for the pow- 
ers of Mrs. Carter as an actress. . . . The 
audience bent to her torrent of words, to her sweep 
of gesture, to the hot fire of passion and genuine 
power that burned behind them." 



$fcwg of tfje ^regent 97 

Elaine, a drama in four acts by George Parsons 
Lathrop and Harry Edwards, based on the fa- 
miliar version of the old legendary tale in Ten- 
nyson's "Idylls of the King," was first given ex- 
perimentally at an author's matinee at the Madi- 
son Square Theatre, New York, and was later 
produced at the same house on December 6, 1887. 
It was cast as follows : 



King Arthur Charles Overton. 

Lancelot Alexander Salvini. 

Lord of Astolat Frederic Robinson. 

Sir Torre Louis Massen. 

Sir Lavaine Walden Ramsay. 

Sir Gawain E. M. Holland. 

Dumb Servitor C. P. Flockton. 

Queen Guinevere Marie Burroughs. 

Elaine Annie Russell. 

Llanyd Minnie Seligman. 

Roselle Marie Greenwald. 



"Elaine" received the immediate approval of the 
large body of playgoers to whom the poetic drama 
always appeals, and it was, at the close of its run, 
presented in other cities by Mr. Palmer's com- 
pany. In these performances, Joseph E. Whiting 
succeeded Mr. Overton as King Arthur, Miss May 
Brookyn replaced Miss Seligman as Llanyd, and 
Miss Kate Molony appeared as Roselle. 

An Enemy to the King, a romantic drama in 
four acts by Robert N. Stephens, was produced 

7 



9 8 $Iap£ of tfje f&tegent 

at the Lyceum Theatre in New York on Septem- 
ber I, 1896, with this cast of characters : 

Ernanton de Launay E. H. Sothern. 

Claude de la Chatre Arthur R. Lawrence. 

Guillaume Montignac Roydon Erlynne. 

Vicomte de Berquin Morton Selten. 

Blaise Tripault Rowland Buckstone. 

Gilles Barbemouche Daniel Jarrett. 

Julie de Varion Virginia Harned. 

Jeannotte Jeannette Lowrie. 

Marianne Kate Pattison- Selten. 

Bribri Violet Rand. 

Giralda Ray de Barrie. 

Mr. Stephens's play was a series of pictures of 
the France of the closing decades of the sixteenth 
century, making a stirring melodrama, with the 
flash of steel, cuts and passes, and stage heroics, 
devised by a past master of the art of stagecraft, 
the whole put together with a fair amount of lit- 
erary ability and with that touch of the practised 
playwright that always carries conviction. The 
plot was somewhat obscured by the liberal embel- 
lishments with which Mr. Stephens adorned it, 
but the valorous devotion of the hero and the 
contention of opposing feelings in the heroine were 
presented forcibly, and the scenes bearing upon 
these two elements were the strongest in the play. 
Mr. Sothern played the hero with an abundance of 
vital manliness, agreeably expressed, and, as he 
possessed all the requisites of a successful romantic 
actor, his vigor and charm of personality carried 
the first acts, which were rather heavy. Later in 



$Iapg of tfje ^regent 99 

the piece the action quickened, and the play ended 
in a rush and whirl that always set an audience 
wild with delight. 

Grace Kimball had been originally engaged to 
create the heroine, but she was taken ill a few days 
before the season opened, and Miss Harned played 
the part. Later in the season Mary Hampton was 
seen as Julie, with Rebecca Warren as Jeannotte, 
and Alberta Gallatin as Giralda. The original 
cast was curiously uneven, some of the parts being 
given in a weak, amateurish manner that proved 
far more amusing than effective. 

The play was mounted in a gorgeous style that 
was well in keeping with its romanticism, the set- 
tings being amazingly realistic and beautiful, while 
costumes and properties were all in keeping with 
the artistic surroundings. It was reported that 
Mr. Sothern himself supervised the production, 
which certainly proved that his ability as a stage 
director rivaled his merit as an actor. When 
the star had given his new piece throughout 
the country, it passed into the hands of the 
stock companies, and as presented by them had 
a new lease of life that still keeps it before the 
public. 

Eugene Aram, a drama in three acts, partly in 
blank verse, founded by William Gorman Wills 
upon the life of that famous character, was pro- 
duced at the Lyceum Theatre in London on April 



i oo pap£ of tfje $re£ent 

!9> !873. It was originally called "The Fate of 
Eugene Aram." The cast was: 

Eugene Aram Henry Irving. 

Parson Meadows W. H. Stephens. 

Richard Houseman E. F. Edgar. 

Jowell F. W. Irish. 

Joey Miss Willa Brown. 

Ruth Meadows Isabel Bateman. 

For over a century literary men have been 
tempted by the picturesque career of the unfor- 
tunate Eugene Aram. Walter Scott and William 
Godwin, as well as many other writers, projected, 
although they never accomplished, romances bear- 
ing upon his life ; Thomas Hood dealt with him in 
one of his serious poems ; and Bulwer, in addition 
to his well-known novel, actually completed two 
acts of a poetic tragedy to be called "Eugene 
Aram." As early as 1831 there was produced a 
dramatic version of Bulwer's work, and there have 
been other plays drawn from the same source. Mr. 
Irving made no mistake in accepting Mr. Wills's 
play, and his interpretation of its title character 
has proved one of the most noteworthy achieve- 
ments of his career. After Ellen Terry joined Mr. 
Irving's company, she played Ruth Meadows 
whenever "Eugene Aram" was revived. 

During Mr. Irving's first tour of America, which 
began at the Star Theatre, New York, on Octo- 
ber 29, 1883, "Eugene Aram" was not given. On 
his second tour, however, he played Mr. Wills's 



$Iapsr of tfje $tt$mt 



IOI 



drama for the first time in this country at the Co- 
lumbia Theatre, Chicago, on January 19, 1885, 
and it was subsequently presented in New York 
and other American cities. The cast included Mr. 
Irving in the title role, Miss Terry as Ruth Mead- 
ows, Henry Howe as Parson Meadows, T. N. 
Wenman as Richard Houseman, Samuel Johnson 
as Jowell, and E. G. Craig (Miss Terry's son) 
as Joey. 

Evangeline, a burlesque in three acts, the text by 
J. Cheever Goodwin, the music by Edward E. Rice, 
was produced at Niblo's Garden in New York on 
July 2j, 1874. The cast was : 

Evangeline Ione Burke. 

Eulalie May Arlington. 

Catherine Louis J. Mestayer. 

The Queen May Vernon. 

Gabriel Connie Thompson.. 

LeBlanc William H. Crane. 

Basil James C. Dunn. 

Felician C. A. Mackintosh. 

Michael W. B. Cahill. 

Captain Dietrich William Scallan. 

King Borrioboolah Glia Edward S. Tarr. 

The Policeman James Martin. 

Hans Wagner Charles Rosene. 

The Lone Fisherman Jacob W. Thoman. 

"Evangeline" may well claim to be the most 
popular burlesque of this generation. Mr. Rice 
and Mr. Goodwin wrote their play on the best 
models of the English burlesque, such as Planche 
and Brough had given to London playgoers. 

7* 



io2 $Iap£ of tfje Regent 

There was a certain connected story, the play hung 
together in some sort, and, as originally produced, 
"Evangeline" was in form equal to Brougham's 
"Pocahontas." The great creation of the piece 
was the Lone Fisherman, a part originally played 
by Mr. Thoman, for years favorably known in 
Boston from his connection with the Boston Mu- 
seum. The part was given the second season to 
James S. Maffitt, the pantomimist, who made it 
one long to be remembered. As originally written, 
the Fisherman had a speech at the end of the last 
act, when, as he burned the will, he announced 
himself as the evil genius of the play, but this 
speech was cut out later, and lovers of pantomime 
will always recall Mr. Maffitt's work in this piece 
as the best that he did in his long career and as 
the best ever seen in the part. 

In the original production, Mr. Crane was se- 
lected by Mr. Rice to create LeBlanc, as a good 
comedian was wanted for the part, and Mr. Crane 
was considered one of the most promising to be 
found in New York. Mr. Tarr, who played the 
King, was long identified with the burlesque, act- 
ing several parts in it and being billed as Edward 
S. Tarr, E. S. Tarr, E. Starr, and in various other 
ways diversifying his name. Mr. Rosene, the 
Hans Wagner, was another actor who became 
known through this play. Like Mr. Tarr, he was 
a useful member of the company, and after play- 
ing Wagner under the name of Rosene, he would 



$iapg of tfje $tegent i o 3 

appear as "The Jailer, Mr. R. C. Osine." There 
were several others who in their time played many 
parts in the merry burlesque, notably Henry E. 
Dixey. The business of the piece was somewhat 
different at first from what it is to-day, and when 
Boston first saw "Evangeline" at the Globe Theatre 
on June 7, 1875, Mr. Dixey was one of the two sail- 
ors who were hidden in the heifer, giving him an 
opportunity to show his skill as a dancer. Among 
others who were in the first Boston cast who had 
not appeared in New York were Laura Joyce, Eva 
Brent, Harry Beckett, Ella Morant, Dan J. Ma- 
guinnis, Harry S. Murdoch, Edmund K. Collier, 
and Herbert A. Cripps. Mr. Murdoch, excepting 
N. C. Goodwin the best Captain Dietrich ever 
seen, later perished in the Brooklyn Theatre fire ; 
Mr. Collier, who played the Indian, tried tragedy 
and was not unsuccessful; while Mr. Beckett, a 
comedian who had made a name with Lydia 
Thompson, a Bob Acres to be long remembered, 
was an effective LeBlanc. Mr. Maguinnis, the 
Irish comedian, played Michael the fiddler, a part 
that was afterward eliminated. 

While all parts of the country had opportunities 
to see the successful burlesque, it may be counted 
as a Boston institution, for its production at the 
Museum in that city on July 10, 1876, its first 
season at the Globe Theatre there not having been 
especially remunerative, marks the real beginning 
of its great popularity. At that time the principal 



io 4 $Iap£ of tfje $tt$mt. 

players in the cast were thus distributed : Evan- 
geline, Lillian Conway ; Catherine, Harry Josephs ; 
The Queen, Rose Temple; Gabriel, Eliza Wea- 
thersby; LeBlanc, W. H. Crane; Captain Dietrich, 
N. C. Goodwin, then billed as "Jr."; The King, 
James H. Jones. Of course the indefatigable Mr. 
Rosene had several parts, and Mr. Jones also dou- 
bled. The season was helped out by novelties from 
time to time. Mr. Goodwin gave his imitations 
in "Dick Alias," Mr. Murdoch replaced Mr. Good- 
win and gave imitations in "The Widow's Vic- 
tim," and, at Mr. Crane's complimentary benefit, 
the beneficiary sang "The Old Sexton," while at a 
benefit to the authors, J. Cheever Goodwin played 
three different parts. After that, every year, for 
several years, it was given week after week in 
Boston to paying houses. It was very elastic ; new 
characters were added, old ones were dropped, but 
the public flocked to see it, and it made the reputa- 
tion of many a player. 

The Exiles, a melodrama in six acts by Vic- 
torien Sardou, assisted by Eugene Nus and Prince 
Lubomirsky, was produced in English in this coun- 
try at the Boston Theatre in Boston on December 
10, 1877, with a cast of twenty-two speaking char- 
acters, the principal being the following: 

Schelm L. R. Shewell. 

Max de Lussieres Louis James. 

Count Wladimir Limine Ed. J. Buckley. 



$Iap£ of tfje $re£ent. i o 5 

Colonel Ealkine Mark M. Price. 

Carcassin D. J. Maguinnis. 

Nicholas Popoff C. Leslie Allen. 

Mile. Nadege Lanine Marie Wainwright. 

Countess Tatiana Lanine .... Mrs. T. M. Hunter. 

"The Exiles" was in its second season at the 
Porte St. Martin Theatre in Paris, where it was 
first brought out, when the managers of the Bos- 
ton Theatre had an adaptation made by L. R. 
Shewell, who followed closely the original, and 
produced it in fine style at the largest playhouse 
in America. At that time Sardou was perhaps 
the first playwright in France, and to his wonder- 
ful dramatic power, which was enlisted in framing 
and finishing the work, were added the efforts of 
Nus and Lubomirsky, themselves dramatists of no 
mean ability, who filled out the piece with popular 
effects and details. There were many things in 
the drama to make it effective, the continual suc- 
cession of exciting situations being supplemented 
with beautiful scenery and realistic accessories. 

The reindeer and dog teams, the conflagration 
in the governor's house, the battle raging in and 
about the ferryman's hut on the Angora, the beauty 
of the scenes representing the Square of Sher- 
bakoff at night, — with the city, illuminated by its 
myriad lights, in the distance, — Prince Pierre's 
palace, and the Cross Road of the Stone Pillar 
were all calculated to interest and entertain the 
most hardened playgoer. The story of the play 
is romantic and exciting, and appeals with resist- 



106 papg of tfje $tt$tnt. 

less power to one's sympathies, so that, acted, as 
it was, by one of the best theatrical companies 
ever gathered in this country, it made a success 
that was truly described as phenomenal. 

Since its original production in this country, the 
play has not only been frequently repeated in Bos- 
ton, but has been well received in other cities. 
Among players who have won some distinction in 
it may be mentioned Henry Aveling, Nestor Len- 
non, W. S. Harkins, and Adele Belgarde. 

Fanchon, a drama adapted by August Waldauer 
from a German play "Die Grille," which in turn 
was taken from George Sand's "La Petite Fa- 
dette," was produced at the St. Charles Theatre 
in New Orleans in i860. The cast was as follows : 

Fanchon Maggie Mitchell. 

Landry Charles R. Pope. 

Didier Alvan A. Reed. 

Father Barbeau R. F. McClannin. 

Father Cayard T. J. Hind. 

Etienne W. J. Leonard. 

Pierre John Daily. 

Martineau Harry Melmer. 

Colin Con T. Murphy. 

Madelon Mary Maddern. 

Susette Emma Maddern. 

Mother Fadet Mrs. Knight. 

Mother Barbeau " McManus. 

August Waldauer, the adapter of the play, was 
then the leader of the orchestra at the St. Charles 
Theatre, and the prompter was Thomas Davey, 
the father of Minnie Maddern Fiske. Miss Mit- 







MAGGIE MITCHELL. 

As Fanohon. 



$Iapg of tf)e $re£ent. 107 

chell became so popular in "Fanchon" that the play- 
remained a leading feature of her repertory for 
more than a quarter of a century. The outbreak 
of the Civil War interfering with her Southern 
tour, she came North and brought out "Fanchon" 
at the Boston Museum with a notable cast which 
included William Warren, W. H. Whalley, Mrs. 
Vincent, and Jennie Anderson. Returning to 
New York, she began her engagement there at 
the New Olympic Theatre, formerly Laura 
Keene's, on June 9, 1862, presenting "Fanchon" 
for the first time in that city. The cast included 
A. H. Davenport as Didier, J. H. Stoddart as 
Father Barbeau, James W. Collier as Landry, and 
Mrs. Stoddart as Madelon. 

For years "Fanchon" remained the exclusive 
property of Maggie Mitchell, but after her retire- 
ment other actresses attempted the character, 
among them being Katherine Rober and Gladys 
Wallis. 

Featherbrain, a farcical comedy in three acts 
adapted from the French by James Albery, was 
produced at the Criterion Theatre in London on 
June 23, 1884, with this cast: 

Samuel Coney W. Mackintosh. 

Valentine Day George Giddens, 

Ferdinand Pettigrew W. Blakeley. 

Don Stephano Ruy Gomaz C. D. Marius. 

Tipper H. Saker. 

Mrs. Coney Marie Jansen. 



io8 papg of tfje ^regent 



Mrs. Pettigrew Rose Saker. 

Miss Eur y dice Mole Isabelle Eves son. 

Nelly Annie Rose. 

Gimp Rose Norreys. 

Mary Ann E. Vining. 

The original of "Featherbrain" was a bright 
piece called "La Tete de Linotte," by Theodore 
Barriere and Edmund Gondinet, and was origi- 
nally brought out on September n, 1882, at the 
Vaudeville Theatre, Paris. It was put on to fill 
the time before the production of Sardou's "Fe- 
dora" at that playhouse* and meeting with great 
success, Charles Wyndham secured the rights for 
England, and engaged Mr. Albery to work it over 
for the English stage. The task was performed 
so well that his piece was in every respect as funny 
as the original. 

The Criterion company did full justice to the 
new play, and the result was a success as great as 
had greeted it in France. In the cast were several 
of London's favorite players, while two of the 
leading actresses were Americans — Marie Jansen, 
who scored a success as the heroine, and Isabelle 
Evesson. 

It was not long before "Featherbrain" was 
brought out on this side of the water. Boston 
playgoers first saw it at the Museum on September 
21, 1885, and it was given a notable production 
in New York in May, 1889, when the cast included 
such players as Minnie Maddern and Wilton 
Lackaye. 



papg of tije $zt$ent. i o 9 

Fedora, a drama in four acts adapted from the 
French of Victorien Sardou by Herman C. Meri- 
vale, was produced at the Haymarket Theatre in 
London on May 5, 1883. The cast was as follows : 

Loris Ipanoff Charles Coghlan. 

Jean de Siriex Squire B. Bancroft. 

Pierre Boroff Mr. Carne. 

M. Rouvel " Smedley. 

M. Vernet H. Fitzpatrick. 

Dr. Loreck Mr. Elliot. 

Gretch C. Brookfield. 

Boleslas Lasinski Mr. Francis. 

Tchileif F. Everill. 

Desire Mr. Gerrard. 

Dmitri Julia Gwynne. 

Kirill Stewart Dawson. 

Ivan Mr. Vernon. 

Princess Fedora Romazoff Mrs. Bernard-Beere. 

Countess Olga Soukareif " Bancroft. 

Baroness Ockar Miss Herbert. 

Madame de Tournis " Merrill. 

Marka " R. Taylor. 

When Sardou's play was brought out with Bern- 
hardt in Paris in the winter of 1882, it made such 
a marvelous success that the English managers 
immediately began to wonder if it "would do" for 
an English audience. Mr. Bancroft, then manag- 
ing the Haymarket Theatre, went to Paris with 
Mrs. Bancroft, saw the piece, secured the acting 
rights, and returned home with his prize. 

Sardou's manuscript was given to Mr. Merivale, 
who was asked to make the English version. The 
dramatist was not especially interested, but agreed 
to take the book home and see what he thought 



1 1 o pap£ of tfje ^regent. 

of it. He put off looking at the play till late at 
night, when, after glancing over a few pages, he 
became so absorbed in its story that he found it 
impossible to go to bed until the last speech of 
the drama had been read ; and when he set to work 
on the translation it was soon finished, so inter- 
ested had he become in the piece. His version 
proved an admirable one, although, as Mrs. Ban- 
croft was not to play the principal character, her 
part of the Countess Olga Soukareff was built up 
for her, and, revised, corrected, and amended to 
suit British tastes, was probably the greatest de- 
parture from the original of any personage in 
the play. Mrs. Bernard-Beere was especially en- 
gaged to play the name-part. 

The success of "Fedora" was simply phenome- 
nal. On the first night the critical portion of the 
audience was taken completely by surprise at the 
excellent impersonation of the heroine by Mrs. 
Bernard-Beere, which really proved to be the mak- 
ing of the play. 

The same year Fanny Davenport brought out 
in this country the version of the play that had 
been made for her, and proved so successful in 
the part of the heroine that "Fedora" remained 
in her repertory during her career. Miss Daven- 
port had the support of Robert B. Mantell as 
Loris Ipanoff for several seasons ; later Melbourne 
MacDowell was seen in the part, and continued to 
play it whenever she gave the drama. 



$lap£ of tfje ^regent 



in 



The First Born, a play in one act by Francis 
Powers, was produced in San Francisco at the Al- 
cazar Theatre on May 3, 1897, and on October 
5, 1897, was brought out at the Manhattan Theatre 
in New York, the casts being the same : 

Loey Tsing May Buckley. 

Cho Pow Nellie Cummins. 

Chan Lee Carrie E. Powers. 

Dr. Pow Len George Osbourne. 

Man Low Yek Charles Bryant. 

Chan Wang Francis Powers. 

Hop Kee J. H. Benrimo. 

Chum Woe Harry Spear. 

Kwakee John Armstrong. 

Duck Low George Fullerton. 

Sum Chow Harry Levian. 

A Chinese Ragpicker Walter Belasco. 

A Provision Dealer Fong Get. 

Chan Toy Venie Wells. 

Way Get Joseph Silverstone. 

The piece was a Chinese play in the truest sense 
of the word, for not only was the plot developed 
from an essentially Chinese motive — the theft and 
death of a first-born child and the father's ven- 
geance — but the realistic and artistic manner in 
which it was presented, with a proper attention to 
Oriental effect, did much to insure its success in the 
East with a class of theatre-goers who could have 
no means of knowing whether or not its pictures 
were true to life. It was rather a bold undertak- 
ing to bring to New York from San Francisco the 
entire cast and production even of a play which 
had created such a profound sensation in the latter 



1 1 2 ptapg of tfje $re£ent. 

city, but the little tragedy proved as thrilling to 
the playgoers of the Atlantic as the Pacific coast. 
In dramatic intensity, Mr. Powers's play was one 
of the most remarkable ever seen on the stage, and 
artistically its success was complete. 

Miss Buckley played the slave girl Loey Tsing 
with much grace and delicacy, Mr. Osbourne was 
excellent as a pedantic physician, the author him- 
self gave a fine performance of Chan Wang, and 
Mr. Benrimo, who really carried the burden of the 
story on his shoulders as the pipe-mender, proved 
a conscientious and painstaking artist. When the 
play later fell into the hands of the stock compa- 
nies this part of the pipe-mender was played at 
the Castle Square Theatre in Boston by Horace 
Lewis, who made a distinct success in the role. 
Miss Buckley had portrayed the slave girl so well 
that she was engaged by various stock companies 
to repeat her impersonation. 

The Forest Lovers, a dramatization of Maurice 
Hewlett's novel of the same name, was produced 
at the Lyceum Theatre, New York, on September 
10, 1901, Miss Bertha Galland then making her 
debut as a star. The original stage version was 
made by Miss Clo Graves in five acts and ten tab- 
leaux, but before production it was rearranged and 
condensed by Albert Edward Lancaster into five 
acts and five tableaux, the preparation for the stage 




COPYRIGHT, 1901, BY B. J. FALK, WALDORF-ASTORIA. N. y 



BERTHA GALLAND. 

As Iseult, in Forest Lovers. 



$Iap£ of tfje ^regent. 1 13 

being made under the direction of William Sey- 
mour. The cast was as follows : 

Prosper Le Gai Harry B. Stanford. 

Dom Galors de Born George W. Barbier. 

Baron Blountford Stephen Wright. 

Master Bembo Frank C. Bangs. 

Vincent Mortimer Weldon. 

Father Bonnacord James Otley. 

Matt 0' the Moor L. F. Morrison. 

Wolf tooth Rachel Crown. 

Rogerson Richard Cochrane. 

Isoult Bertha Galland. 

Maulfry Rhoda Cameron. 

Lady Isabel Margaret Bourne. 

The Abbess of Grace-Dieu Blanche Weaver. 

Sister Angela Carrie Thatcher. 

After a brief run at the Lyceum Theatre, "The 
Forest Lovers" was played in Baltimore, Washing- 
ton, and Boston, closing its season in the last- 
named city on December 22, 1901. 

Forget Me Not, a drama in four acts by Her- 
man Merivale, was produced at the Lyceum Thea- 
tre, London, on August 22, 1879, with Genevieve 
Ward in the character of Stephanie de Mohrivart. 
In September, Miss Ward was obliged to leave the 
Lyceum Theatre on the return of Henry Irving 
and his company, and to make a tour of the Eng- 
lish provinces in Mr. Merivale's play. It became 
popular, and on February 22, 1880, reopened at 
the Prince of Wales's Theatre in Tottenham Court 
Road, where it ran until the 24th of July. On 
8 



1 1 4 pap£ of tfje ^regent 

the 25th of September she returned to the same 
theatre, and presented "Forget Me Not," with the 
role of Rose cut out. Mr. Merivale objected, and 
a lawsuit followed by which he sought to enjoin 
the presentation of his play in its mutilated condi- 
tion. As Miss Ward had secured the sole rights 
to the presentation of the play, Mr. Merivale lost 
his case. Further trouble arose when Miss Ward 
reached this country and found that she had been 
forestalled by an American production of "Forget 
Me Not," which had been presented at Wallack's 
Theatre, New York, on December 18, 1880. The 
cast was : 

Sir Horace Welby Osmond Tearle. 

Prince Malleotti Harry Edwards. 

Barrato Gerald Eyre. 

Roberts Harry J. Holliday. 

Mrs. Foley Madame Ponisi. 

Alice Vemey Stella Boniface. 

Rose Agnes Elliott. 

Stephanie Rose Coghlan. 

Miss Ward immediately entered suit for an in- 
junction, and, winning her case, "Forget Me Not" 
was withdrawn from the stage of Wallack's Thea- 
tre on January 13, 1881. The entire controversy 
is reviewed at length, with reprints of the legal 
documents, in "Genevieve Ward: A Biographical 
Sketch," by Zadel Barnes Gustafson. Miss Ward 
presented "Forget Me Not" at the Fifth Avenue 
Theatre, New York, on March 14, 1881, the cast 
including Frank Edwards, Cora Tanner, Laura 



Papg of tfje $re$fcnt. 1 1 5 

LeClaire, Charles Dade, and Horace Lewis. It 
was again presented for a week under Henry E. 
Abbey's management at Wallack's Theatre, and in 
1891 and 1894 was revived by Miss Coghlan for 
her starring tours. 

Francesca da Rimini, a drama in blank verse 
by George Henry Boker, was produced at the old 
Broadway Theatre, New York, on September 26, 
1855. At that time Mr. Boker was rapidly gain- 
ing eminence as poet and dramatic author, and he 
still remains one of the few American authors 
who have been able to mingle the poetic with the 
dramatic art. The cast of his "Francesca da Ri- 
mini" was as follows : 

Lanciotto Edward L. Davenport. 

Pepe Charles Fisher. 

Francesca Madame Ponisi. 

Paolo J. W. Lanergan. 

Malatesta David Whiting. 

Ritta Miss Manners. 

In Mr. Boker's version the familiar tale is told 
as follows : Malatesta, the lord of Rimini, has two 
sons, Lanciotto, who is deformed, and Paolo, who 
is very handsome. Francesca, daughter of Guido 
da Polenta, Lord of Ravenna, is promised in mar- 
riage to Lanciotto, but Paolo is sent to escort her 
to Rimini. Her father, fearful that she may reject 
the alliance with the ugly Lanciotto if she pre- 
maturely sees him, casually deceives her into the 
fatal belief that the proposed husband is he who 



1 1 6 $fap£ of tfje $te0en& 

comes as envoy merely — the handsome Paolo, 
whose beauty has already attracted her, and who 
already loves her. The journey to Rimini is 
made, and at the sight of Lanciotto, Francesco, 
exhibits aversion, but for the sake of Ravenna she 
determines to keep her promise and marry him. 
At the altar he clearly perceives her antipathy, and 
upon announcement of a Ghibelline revolt he 
dashes away in a paroxysm of fury. Paolo and 
Francesco remain together, and their secret be- 
comes known to a court fool, Pepe by name, who 
hates them all. By him they are betrayed to Lan- 
ciotto at the camp. He first smites the malignant 
Pepe dead at his feet, and then kills both his wife 
and brother. His own death by the swords of the 
successful Ghibellines instantly follows and ends 
the tragedy. 

In 1856 the tragedy was published, and now 
forms one of the most notable works in Ameri- 
can dramatic literature. It was revived at rare 
intervals, and on September 14, 1882, was brought 
out again by Lawrence Barrett in Philadelphia. 
Mr. Barrett's revival was elaborately staged, and 
his interpretation of the hunchback Lanciotto was 
universally commended for its impressiveness and 
variety. "Francesca da Rimini" remained in his 
repertory several seasons, and he was supported 
at various times by Louis James as Pepe, F. C. 
Mosley and Otis Skinner as Paolo, and Marie 
Wainwright as Francesca. 



$Iap£ of tfje ^re^cnt. 1 1 7 

Frank C. Bangs revived the tragedy some ten 
years ago, with himself as Lanciotto and Miss 
Helen Leigh as Francesco. In 1893 Frederick 
Warde appeared as Lanciotto, Louis James as 
Pepe, Charles D. Herman as Paolo, and Miss 
Edythe Chapman as Francesco; and in the season 
of 1901-1902 Otis Skinner made a successful re- 
vival, with himself as Lanciotto, Aubrey Boucicault 
as Paolo, and Marcia van Dresser as Francesco. 

Frou Frou, a comedy in four acts by Henri Meil- 
hac and Ludovic Halevy, performed for the first 
time in Paris in 1869, was produced in an English 
version by Augustin Daly at the Fifth Avenue 
Theatre, New York, on February 15, 1870. The 
cast was : 

Henry Sartorys George Clarke. 

Brigard William . Davidre. 

Comte de Valreas George Parks. 

Baron de Cambri James Lewis. 

Pitou G. F. De Vere. 

Vincent George Jordan, Jr. 

Zanetto W. Beekman. 

Gilberte Agnes Ethel. 

Louise Kate Newton. 

Baronne de Cambri Mrs. G. H. Gilbert. 

Pauline Fanny Davenport. 

The Governess Emilie Kiehl. 

Angelique Amy Ames. 

Georgie Gertrude Norwood. 

Unlike most of Augustin Daly's plays adapted 
from the French and the German, the English 
version of "Frou Frou" closely resembles its origi- 
8* 



1 1 8 $Iap£ of tfje pxtgmt 

nal, and therefore lacks little of its inherent power 
and dramatic force. During the past thirty years 
it has been played in many countries and in many 
languages, and is even now among the living plays 
of the present century. Immediately upon its 
New York production by Mr. Daly's company, 
it attracted the attention of Boston managers, and 
there was an exciting contest between the man- 
agement of Selwyn's Theatre and the Boston 
Museum as to which should produce it first. It 
was announced for March 7, 1870, at Selwyn's, 
but the Museum stole a march upon its rival, and 
shelving "The Angel of Midnight," brought out 
a version of "Frou Frou," prepared by Fred Wil- 
liams, on February 28, 1870. Miss Annie Clarke 
was at once distinctly successful in the title char- 
acter, and the cast included Charles Barron, Wil- 
liam Warren, Frank Hardenbergh, R. F. McClan- 
nin, J. H. Ring, Mrs. J. R. Vincent, Miss Ada 
Gilman, Miss Fanny Marsh, and Miss Mary Sher- 
lock. At Selwyn's Theatre, Mrs. Thomas Barry 
played Gilberte, and she was supported by William 
J. Le Moyne, Frederic Robinson, McKee Rankin, 
G. H. Griffiths, J. B. Bradford, Miss Virginia 
Buchanan, Miss Mary Wells, and Mrs. T. M. 
Hunter. 

Other representatives of "Frou Frou" have been 
Sarah Bernhardt, Gabrielle Re jane, Jane Hading, 
Clara Morris, Kate Claxton, Modjeska, Rhea, May 
Fortescue, Mrs. Potter, Sadie Martinot, Marie 
Wainwright, Olga Nethersole, and Mrs. Fiske. 






$Iapg of tfje ^regent 1 1 9 

The Gay Lord Quex, a drama in four acts by 
Arthur W. Pinero, was produced at the Globe 
Theatre, London, on April 8, 1899, and ran there 
through the remainder of the season and the fol- 
lowing summer. The original cast was : 

Marquess of Quex John Hare. 

Sir Chichester Frayne Gilbert Hare. 

Captain Bastling Charles Cherry. 

Valma Frank Gillmore. 

Duchess of Strood May Fortescue. 

Countess of Owbridge Fanny Coleman. 

Mrs. Jack Eden Mona K. Oram. 

Muriel Eden Mabel Terry Lewis. 

Sophy Fullgarney Irene Vanbrugh. 

For a few weeks during the summer Mr. Hare 
retired from the cast, and the title role was then 
played by Mr. Dawson Millward. During the 
season of 1900-1901 "The Gay Lord Quex" was 
performed in the provincial theatres of England. 
On November 12, 1901, an American tour by 
an English company, with Mr. Hare at its head, 
was begun at the Criterion Theatre, New York, 
and continued throughout the remainder of the 
season, Miss Vanbrugh playing Sophy Fullgar- 
ney, and Mr. Gilbert Hare appearing as Sir Chi- 
chester Frayne. Miss Ada Ferrar replaced Miss 
Fortescue as the Duchess of Strood, and Miss 
Louise Moodie succeeded Miss Coleman as the 
Countess of Owbridge. 

A German version of "The Gay Lord Quex" 
was produced at the Lessing Theatre in Berlin 
on January 13, 1900. 



i2o pfap£ of t$t $tegenk 



The Girl I Left Behind Me, a drama in four 
acts by David Belasco and Franklin Fyles, was 
produced at the National Theatre, Washington, 
D. C, January 16, 1893, and on January 25 it 
formed the opening production at the Empire Thea- 
tre, New York. It was originally acted at Sadler's 
Wells Theatre, London, England, on January 6. 
The American cast was : 

General Kennion Frank Mordaunt. 

Major Burleigh W. H. Thompson. 

Lieutenant Edgar Hawkesworth William Morris. 
Lieutenant Morton Parlow .... Nelson Wheatcroft. 

Sergeant Dicks Thomas Oberle. 

Orderly McGlynn James O. Barrows. 

Private Jones Orrin Johnson. 

Dr. Arthur Penwick Cyril Scott. 

Dick Burleigh Wallie Eddinger. 

Andy Jackson Joseph Adelman. 

John Ladru (Scar Brow) Theodore Roberts. 

Fell an Ox Frank Lathrop. 

Silent Tongue Arthur Hayden. 

Kate Kennion Sidney Armstrong. 

Lucy Hawkesworth Odette Tyler. 

Wilber's Ann Edna Wallace Hopper. 

Fawn Afraid Katharine Florence. 

"The Girl I Left Behind Me" was a melodrama 
that succeeded in spite of its faults. Probably no 
play of the day was more open to criticism in mat- 
ters of detail and dialogue, and yet the realistic 
manner in which it was put on the stage and the 
excellent company that gave it carried it to a suc- 
cess that was doubtless beyond even the authors' 
expectations, and to-day it is still acted as one of 
the most popular of American plays. There are 



#Iap£ of tf>e $regent. 



121 



many parts in it which prove effective in the hands 
of capable players, and some noted actors besides 
those of the first cast have been seen to advantage 
in it. So many of the players who created the 
characters are well known that it is hard to 
enumerate the individual successes, but Mr. Mor- 
daunt, Mr. Thompson, Mr. Roberts, Mr. Barrows, 
and Miss Armstrong were especially praised for 
their naturalness. 

The Great Ruby, a melodrama in six acts by 
Cecil Raleigh and Henry Hamilton, was produced 
at the Theatre Royal, Drury Lane, London, on 
September 15, 1898. The cast was as follows: 

Lady Garnett Mrs. John Wood. 

Countess Mirtza Charkoff " Cecil Raleigh. 

Mrs. Elsmere Bella Pateman. 

Miss Brenda Elsmere Maud Hoffman. 

The Hon. Moya Denzil Marie Rignold. 

The Hon. Kathleen Denzil Mabel Lowe. 

Louisa Jupp Lillian Menelly. 

Miss Flossie de Grosvenor Birdie Sutherland. 

Miss Millie Paget Augusta Walters. 

Jane Slater Mary Brough. 

Parsons Margaret Brough. 

Prince Kassam Wadia Robert Loraine. 

Viscount Montyghal C. M. Lowne. 

Aid. Sir John Garnett, Kt J. B. Gordon. 

Lord George Hartopp Mr. Shirley. 

Captain Clive Dalrymple Dawson Millward. 

Sir Simon Beauclerc Michael Dure. 

James Brett G. R. Foss. 

Cornish J. Bradbourne. 

Bentley Howard Russell. 

Hans C. Angelo. 

Innkeeper Charles Danvers. 



122 



papg of tfje ^regent 



Jack Dennis Charles Trevor. 

Andrews William Morgan. 

Trent Frank Damer. 

Morris Longman Robert Pateman. 

Like all the popular Drury Lane melodramas, 
"The Great Ruby" contained a crucial sensational 
scene, the episode in this instance being a duel to 
the death which took place in a balloon in mid- 
air. The American rights to the play were imme- 
diately secured by Augustin Daly, and it was 
brought out for the first time in this country at his 
theatre in New York on February 9, 1899, with 
this cast: 

Lady Garnett Ada Rehan. 

Countess Mirtza Charkoff Blanche Bates. 

Mrs. Elsmere Mrs. G. H. Gilbert. 

Brenda Elsmere May Cargill. 

The Hon. Moya Denzil Mabel Roebuck. 

The Hon. Kathleen Denzil Beatrice Morgan. 

Louisa Jupp Paula Edwardes. 

Flossie de Grosvenor Louise Draper. 

Millie Paget Virginia Navarro. 

Jane Slater Anne Caverly. 

Parsons Lucy Spinney. 

Housemaid Laura Hall. 

Prince Kassim Wadia Charles Richman. 

Viscount Montyghal Wilfred Clarke. 

Aid. Sir John Garnett, Kt Herbert Gresham. 

Lord George Hartopp George Greppo. 

Captain Clive Dalrymple White Whittlesey. 

Sir Simon Beauclerc James Young. 

James Brett Sidney Herbert. 

Morris Longman William Hazeltine. 

Andrews DeWitt Jennings. 

Trent Clement Hopkins. 

Cornish William F. Owen. 

Bentley Paul McAllister. 



$lap£ of tfje $re0ent. 123 



Hans George Howard. 

Innkeeper William Strong. 

Jack Dennis Fulton Russell. 

Gouch Harold Lewis. 

Its popularity in this country was equal to that 
which it had gained in Great Britain, and it en- 
joyed a long and financially successful run at 
Daly's Theatre. During the following season it 
was played through the leading cities of the United 
States, Isabelle Urquhart appearing as Lady Gar- 
nett, Louise Thorndyke Boucicault as Countess 
Mirtza, Kate Lester as Mrs. Elsmere, White Whit- 
tlesey as Prince Kassim, C. S. Abbe as Viscount 
Monty ghal, Louis Massen as Sir John Gamett, 
and Frank Losee as James Brett. 

Griffith Gaunt, a dramatization by Augustin 
Daly of Charles Reade's novel, was produced at 
the New York Theatre November 7, 1866. Charles 
Reade's "Griffith Gaunt" was the sensation of the 
literary hour. It first appeared in an English 
paper called "The Argosy," but before publication 
in this country it attracted little attention. Then 
it was attacked in the press on the ground of im- 
morality, and its fame and fortune were made at 
a bound. Charles Reade, with his customary 
childishness, at once brought suit for libel, and 
was rewarded with damages to the munificent 
amount of six cents ! "Griffith Gaunt" proved the 
culminating point in his career, despite the ill sue- 



1 24 $fap£ of tfje $regent. 

cess of his lawsuit. It brought him a great deal 
of money, enabling him to pay off his heavy debts 
and to save a handsome sum in addition. 

A dramatization of the book was of course in- 
evitable. Augustin Daly, then a journalist and 
dramatic critic whose career had just begun, made 
a play out of the story inside of four days, and 
his work was creditable in many ways. Its scenes 
were powerful, its character sketches vivid, and 
its interest logical and cumulative. It was pro- 
duced, under the management of Mark Smith and 
Lewis Baker, on the date above given, at the New 
York Theatre, a house erected on the site of the 
Church of the Messiah the year before and opened 
then as Lucy Rushton's Theatre. It was origi- 
nally intended to devote the house to burlesque 
and light plays, but its first success was made with 
"Griffith Gaunt," a play of entirely different 
calibre. 

The acting was excellent in every way. Rose 
Eytinge, then in the early days of professional 
life, visualized the author's idea of the heroine, 
Katherine Peyton, in looks and manner; John K. 
Mortimer, whose success at the Olympic Theatre 
as Badger in "The Streets of New York," was 
still fresh in the public mind, acted Griffith Gaunt; 
Lewis Baker appeared as Tom Leicester; Mark 
Smith as the Chief Justice; Humphrey Bland as 
Squire Peyton; George W. Jamieson as Brother 
Leonard; Mrs. Gomersall as Mercy Vint, and 



$Iapg of tfje $re£ettt 1 2 5 

Marie Wilkins as Caroline Ryder. Mr. Daly's 
"Griffith Gaunt" had only one revival in New 
York. It was presented for the benefit of the 
widow and children of Humphrey Bland, at the 
Theatre Frangais on West Fourteenth Street, April 
14, 1869. D. H. Harkins acted Griffith Gaunt, sup- 
ported by substantially the original cast. Another 
version was tried at Niblo's on August II, 1874, 
but met with little favor. 

The Heart of Maryland, a romantic drama in 
four acts by David Belasco, was produced at the 
Grand Opera House in Washington on October 
9, 1895. The cast was : 

General Hugh Kendrick Frank Mordaunt. 

Colonel Alan Kendrick Maurice Barrymore. 

Colonel Fulton Thorpe John E. Kellerd. 

Lieutenant Robert Telfair .... Cyril Scott. 

Provost Sergeant Blount Odell Williams. 

Tom Boone Henry A. Weaver, Jr. 

Lloyd Calvert Edward J. Morgan. 

Mrs. Clayborne Gordon Helen Tracy. 

Maryland Calvert Mrs. Leslie Carter. 

Phoebe Yancey Georgia Busby. 

Nanny McNair Angela McCaull. 

At the Herald Square Theatre, on the following 
October 22, "The Heart of Maryland" was given 
for the first time in New York ; and midway in the 
run there, which continued several months, Her- 
bert Kelcey replaced Mr. Barrymore as Colonel 
Alan Kendrick. Throughout the following sea- 
son it was played in the leading theatres of the 



1 26 $lapg of tfje ^regent. 

United States, and on April 9, 1898, it began a 
run of three months in London at the Adelphi 
Theatre, Mrs. Carter being received with an enthu- 
siasm equal to that which she had gained in her 
own country. For the London production, Mr. 
Barrymore again appeared as Colonel Alan Ken- 
drick, the other leading characters being inter- 
preted by Harry Harwood as General Hugh Ken- 
drick, Edward J. Morgan as Colonel Fulton 
Thorpe, Frank Mills as Lieutenant Robert Tel- 
fair, Malcolm Williams as Lloyd Calvert, Helen 
Macbeth as Phoebe Yancey, and Minnie Dupree 
as Nanny McNair. After "Zaza" was produced, 
with Mrs. Carter in the leading role, "The Heart 
of Maryland" continued to be played in the Ameri- 
can theatres with Alma Kruger, Mabel Howard, 
and Helene Wintner successively in her stead. 

The Henrietta, a comedy in four acts by Bron- 
son Howard, was produced at the Union Square 
Theatre, New York, on September 26, 1887. It 
was written especially for Robson and Crane, who 
were then at the height of their popularity as joint 
stars, and the original cast was as follows : 

Nicholas Vanalstyne W. H. Crane. 

Dr. Parke Wainwright H. J. Lethcourt. 

Nicholas Vanalstyne, Jr Charles Kent. 

Bertie Vanalstyne, a Lamb Stuart Robson. 

Lord Arthur Trelawney Lorimer Stoddard. 

Rev. Dr. Murray Hilton Frank Tannehill, Jr. 

Watson Flint Henry Bergman. 

Musgrave Louis Carpenter. 



$lapg of fyt $zt$ttt. 1 2 7 



Mrs. Cornelia Opdyke Selena Fetter. 

Rose Vanalstyne Sibyl Johnstone. 

Agnes Lockwood Jessie Storey. 

Lady Mary Trelawney May Waldron. 



The new play was given every advantage that 
stagecraft could devise. In sixty-eight weeks it 
drew $497,852, a sum which shows what can be 
done with a good play by an American dramatist. 
"The Henrietta" was the last piece in which Rob- 
son and Crane appeared together, and on May II, 
1889, at the Star Theatre, New York, they termi- 
nated a partnership of twelve years by acting the 
leading roles in Bronson Howard's play. It re- 
mained the property of Stuart Robson.and has been 
used by him at intervals during the past twelve 
years, its last revival being made at the begin- 
ning of the season of 1901-1902. Nicholas Vanal- 
styne has been successively played by Frank Mor- 
daunt, Thomas A. Wise, and Maclyn Arbuckle ; 
Dr. Parke Wainwright by Frank Losee, James E. 
Wilson, Edwin Holt, and Charles Lane; Nicholas 
Vanalstyne, Jr., by Edward J. Ratcliffe, John Web- 
ster, Jr., and Russ Whytal ; Lord Arthur Trelaw- 
ney by Ernest Tarleton, Harrison Armstrong, and 
Clifford Leigh ; Rev. Dr. Murray Hilton by George 
Woodward and Joseph Keefe; Watson Flint by 
Revel Germaine, Ogden Stevens, and Roy Atwell ; 
Mrs. Cornelia Opdyke by Ellie Wilton, Emma 
Vaders, May Waldron Robson, and Eleanor Barry ; 
Rose Vanalstyne by Helen Rand, Eugenia Linde- 



1 28 pap£ of tfte $re£ent 

mann, Lida McMillan, and Estelle Carter; Agnes 
Lockzuood by Katherine Florence, Edna Brothers, 
and Mary Kealty; and Lady Mary Trelawney by 
Helen Mar, Gertrude Perry, and Laura Thompson. 

The Hobby Horse, a comedy in three acts by 
Arthur W. Pinero, was produced at the St. James's 
Theatre, London, on October 23, 1886. The thea- 
tre and company were under the management of 
John Hare and Mrs. Kendal, and the cast of char- 
acters was as follows : 

Rev. Noel Bryce Herbert Waring. 

Mr. Spencer Jermyn John Hare. 

Mr. Pinching C. W. Somerset. 

Mr. Shattock Mr. Mackintosh. 

Mr. Pews " Hendrie. 

Mr. Lyman W. M. Cathcart. 

Mr. Moulter Mr. Thomas. 

Tom Clarke Fuller Mellish. 

Hewett Albert Sims. 

Tiny Landon Master Reed. 

Mrs. Spencer Jermyn Mrs. Kendal. 

Mrs. Porcher " Gaston Murray. 

Miss Moxon " B. Tree. 

Bertha Miss Webster. 

Mrs. Langdon " B. Huntley. 

"The Hobby Horse" was continued uninterrupt- 
edly at the St. James's Theatre for one hundred 
and nine performances, the run ending on February 
26, 1887; but it was only a qualified success, in 
spite of its long season. The classification of the 
piece as a "comedy" was strongly excepted to, but 
in answer thereto Pinero — so states the editor of 



$Iapg of tfj* $ze$mt. 1 2 9 

his published plays — defined a comedy as a farce 
written by a deceased author. 

Although "The Hobby Horse" was cast and 
ready for rehearsal at the Boston Museum in 1886, 
it was not produced in this country until Decem- 
ber 10, 1896, when the Amateur Comedy Club 
gave one public performance of it at the Carnegie 
Lyceum in New York. Mr. Hare performed it for 
the first time in America at the Academy of Music, 
Montreal, on November 18, 1896 ; and for the first 
time in the United States at the Star Theatre, Buf- 
falo, on December 1, 1896. Its first professional 
performance in New York came on January 4, 
1897, with Mr. Hare as Mr. Spencer Jermyn, at the 
Knickerbocker Theatre. The cast ran as follows : 

Rev. Noel Bryce Frank Gillmore. 

Mr. Spencer Jermyn John Hare. 

Mr. Pinching Frederick Kerr. 

Mr. Shattock Charles Groves. 

Mr. Pews Charles Goold. 

Lyman W. M. Cathcart. 

Tom Clarke Gilbert Hare. 

Hewett E. Reynolds. 

Mrs. Spencer Jermyn May Harvey. 

Mrs. Porcher Mrs. Susie Vaughn. 

Miss Moxon Mona K. Oram. 

Bertha Nellie Thorne. 

Mrs. Langdon Laura MacGilvray. 

Home, a play in three acts by Thomas W. Rob- 
ertson, was produced at the Haymarket Theatre, 
London, on January 14, 1869. Thirty years ago, 
"the teacup-and-saucer drama," as some irreverent 
critic once called the placid theatrical creations of 

9 



130 $fap£ of tfje $te$m. 

Robertson, ruled the English theatres. Never did 
playwright struggle so hard for a foothold as Rob- 
ertson, and never did playwright jump so rapidly 
into public favor. For a dozen years his mono- 
syllabic-titled plays were the talk of theatrical Eng- 
land, and ever since then his "Caste," his "School," 
and his "Home" have been relied upon by man- 
agers in need of a play sure to please the public. 
Of the three plays mentioned, "Home" seems to 
have struck the popular fancy to a less degree than 
either "Caste" or "School." 

"Home" is a free adaptation of "L'Aventuriere," 
a domestic tragedy by Emile Augier which ranks 
high in the literary drama of nineteenth-century 
France. "L'Aventuriere" was produced in Paris 
in i860, and although gaining great prominence 
in the French theatres, did not attract the attention 
of English adapters for several years. Robert- 
son's version, however, was ready for the stage 
some time before its first production. In 1867 it 
fell into Joseph Jefferson's hands under the title 
of "Across the Atlantic," and was rehearsed by 
him at the Varieties Theatre in New Orleans. Not 
liking the leading part of Colonel White, Jeffer- 
son returned the manuscript to Robertson, accom- 
panied by a draft for five hundred dollars. Robert- 
son subsequently sold the play to Edward A. Soth- 
ern, who, after making a number of alterations, 
produced it at the Haymarket Theatre, London, 
on the date above given, with the following cast : 



papg of fye ^regent 1 3 * 



Mr. Dorrison W. H. Chippendale. 

Colonel White Edward A. Sothern. 

Captain Mountraffe Mr. Compton. 

Bertie Thompson Robert Astley. 

Dora Thornhaugh Caroline Hill. 

Lucy Dorrison Ione Burke. 

Mrs. Pinchbeck Ada Cavendish. 

As Sothern's part in "Home" was not a roman- 
tic one, he felt very doubtful concerning it, but 
after the production of the play he wrote to a 
friend : " 'Home' is a great hit — every one giving 
* me more praise than I deserve. I played so ner- 
vously the first night that I fully expected a cut- 
ting up in the papers. However, the public is 
satisfied, and I always acknowledge the verdict 
it gives, pro or con." Sothern undoubtedly added 
to his reputation by his clever impersonation of 
Colonel White. "Home" was thenceforth familiar 
to all London theatre-goers. The most notable 
revival came on October 27, 1881, when the St. 
James's Theatre was reopened under the manage- 
ment of John Hare and W. H. Kendal, with 
"Home," cast as follows: 

Mr. Dorrison T. N. Wenman. 

Colonel White W. H. Kendal. 

Captain Mountraffe John Hare. 

Bertie Thompson T. W. Robertson. 

Dora Thornhaugh Kate Bishop. 

Lucy Dorrison Maud Cathcart. 

Mrs. Pinchbeck Mrs. Kendal. 

Mountraffe, so admirably acted by Mr. Comp- 
ton in the first production at the Haymarket Thea- 



i 3 2 $Iapg of tije ^regent. 

tre, was made by Mr. Hare an accurate and precise 
study of a rascally and dissolute character. He 
acted with a merciless fidelity that made the man 
astoundingly repulsive and odious — so much so 
that some critics said that his presence would not 
be tolerated in any respectable house. The T. W. 
Robertson who played Bertie Thompson was a son 
of the dramatist. 

On May II of the preceding year, Augier's 
original play, "L'Aventuriere," had been acted in 
French at the Prince of Wales's Theatre, with"* 
Genevieve Ward, Mile. Herbert, Beerbohm Tree, 
Horace Wigan, and M. Marius in the cast. 

The American managers seized upon Robert- 
son's plays without delay. The rivalry between the 
Boston Museum and Selwyn's Theatre was at its 
height just at the time of the original productions 
of "School" and "Home." The former, produced 
in London on January 22, 1869, was brought out 
at Selwyn's on February 15. The latter was put 
on at the Boston Museum on Thursday, February 
25, with "The Silver Spoon" as an afterpiece. 
Charles Barron appeared as Alfred Dorrison (or 
Colonel White) and Annie Clarke as Mrs. Pinch- 
beck. Lester Wallack also added "Home" to his 
repertory, and in 1869-1870 played Alfred Dorri- 
son, with Agnes Booth, Rachel Noah, Louis Al- 
drich, Harry Murdoch, and Helen Tracy in the 
supporting cast. 

E. A. Sothern also played Alfred Dorrison in 




EDWARD H. SOTHERN. 

A~ Francois Villon, in If I Were King. 



$Iapg of tfje $te£ent 133 

this country, and in 1 879-1 880 an eccentric Eng- 
lish actor, Sir Randal Roberts, distinguished him- 
self more or less in the character. In 1883, Henry 
M. Pitt headed a company in whose repertory 
"Home" was included. It is now occasionally re- 
vived by resident stock companies. 

If I Were King, a romantic play in four acts 
by Justin Huntley McCarthy, was produced by 
Edward H. Sothern at the Garden Theatre, New 
York, on October 14, 1901, the cast of characters 
being as follows : 

Frangois Villon E. H. Sothern. 

Louis XI George W. Wilson. 

Tristan L'Hermite Arthur R. Lawrence. 

Oliver Le Dain John Findlay. 

Thibaut D'Aussigny Norman Conniers. 

Noel Le Jolys Henry J. Carvill. 

Rene De Montigny Sydney C. Mather. 

Guy Tabarie Rowland Buckstone. 

Colin De Cayeulx Herbert Ayling. 

Jehan Le Loup William Park. 

Casin Cholet William J. Sorelle. 

Robin Turgis Frederick Lotto. 

Trois Echelles Malcolm Bradley. 

Petit Jean George C. Raye. 

Du Lau Frederick Courtenay. 

Poncet De Riviere Fred B. Hanson. 

De Nantoillet B. B. Belcher. 

Toison D'Or, Burgundian Herald Charles Vane. 

Montjoye, French Herald Francis Powell. 

Captain of the Watch Charles Redmund. 

Katherine De Vaucelles Cecilia Loftus. 

Mother Villon Fanny I. Burt. 

Huguette Du Hamel Suzanne Sheldon. 

Jehanneton Le Belle Heaulmiere. Clara Blandick. 

Blanche Charlotte Deane. 

Guillemette Helen Logan. 

9* 



i 3 4 pap£ of tfje $tegent. 



Isabeau Rachel Crown. 

Denise Annette Huntington. 

Queen Margaret B. Caskie. 

After running about two months at the Garden 
Theatre, it was taken on tour, Helen McGregor 
succeeding Miss Loftus as the heroine. 

Impulse, a comedy in five acts adapted by B. C. 
Stephenson from "La Maison du Mari," was pro- 
duced at the St. James's Theatre in London, on 
December 9, 1882, with this cast : 

Mrs. Beresford Mrs. Kendal. 

Mrs. Macdonald Linda Dietz. 

Miss Kilmore Mrs. Gaston Murray. 

Mrs. Birkett Miss Cowle. 

Sir Henry Aucland A. Beaumont. 

Colonel Macdonald T. N. Wenman. 

Captain Crichton Mr. Kendal. 

Victor de Riel Arthur Dacre. 

Graham Mr. Brandon. 

Parker " Drummond. 

Waiter " De Verney. 

Under the pseudonym of Bolton Rowe, Mr. 
Stephenson had collaborated with Clement Scott 
in the making of such dramas as "Diplomacy" 
and "A Wife's Peril." Many of his previous 
efforts had been in the same line, for "Diplo- 
macy" and "A Wife's Peril" are but English ver- 
sions of Sardou. The chief objection to "Im- 
pulse" at the time of its production arose from 
the fact that it might have rationally been com- 
pressed into three acts, instead of being extended 



$Iap£ of tfje $re£enk 13s 

to five. But in spite of this the public liked it, and 
the excellent acting helped it greatly into popular- 
ity. The dialogue was unusually bright and was 
rendered all the more so by the skill of the actors. 
Mr. Dacre, who, it will be remembered, met with 
an untimely death in Australia, made one of his 
first hits in the character of Victor, and Miss 
Dietz gave an interesting impersonation of the 
heroine. 

Mr. Stephenson's later work has been of no great 
distinction, although he has occasionally produced 
a play which has pleased the public craze for nov- 
elty. He wrote the libretto to "Dorothy" — or 
rather rewrote it from Charles Johnson's old Eng- 
lish comedy of "The Country Lasses, or The Cus- 
tom of the Manor" — and collaborated with Haddon 
Chambers in the writing of "The Fatal Card." 

"Impulse" proved a success, and in a few 
months after its original production was given in 
this country with as favorable results as in Eng- 
land. The Kendals performed it upon their visit 
here in the season of 1 888-1 889, and have since 
included it in their repertory during some of their 
American tours. 



Ingomar, a romantic drama in five acts, adapted 
by Maria Lovell from the German of Friedrich 
Halm, was performed for the first time in America 
at the Chestnut Street Theatre, Philadelphia, on 



136 $top£ of tfje $tt$tnt 

November 19, 185 1, with Mrs. Warner as Par- 
thenia, William MacFarland as Ingomar, and Bar- 
ton Hill as Polydor. . It was first given in New 
York at the Broadway Theatre on December I, 
1 85 1. The cast was as follows: 

Ingomar F. B. Conway. 

Polydor Thomas Barry. 

Myron A. W. Fenno. 

The Timarch Thomas J. Hind. 

Alastor Mr. Pope. 

Ambivar Mr. Matthews. 

Parthenia Mme. Ponisi. 

Actea Mrs. Abbott. 

Few plays of so little merit have maintained so 
constant a popularity as has "Ingomar" during its 
fifty years' existence in this country. Not a few 
leading actors have considered the title character 
worthy of their powers, and almost every young 
actress of any prominence has acted Parthenia dur- 
ing some part of her career. In the generation 
which followed the play's production, Ingomar 
was acted in this country by E. L. Davenport and 
John McCullough, and Parthenia by Mrs. Mowatt 
and Julia Dean. To playgoers of the present gen- 
eration the Ingomar of the elder Salvini is familiar. 
Among present-day American actors, the part has 
been played by Frank Mayo, Louis James, Edward 
J. Buckley, Creston Clarke, Robert Downing, R. D. 
MacLean, W. S. Hart, Robert Taber, Eben Plymp- 
ton, Charles Barron, Joseph Haworth, and Henry 
Jewett, generally as leading men in support of star- 




COrrfilGHT, 168.?. 6. .'.APOLEON SARONV 



MARY ANDERSON. 

As Panhenia, in Ingomar 



$Iap£ of t$e $te£ent. J 3 7 

ring Parthenias, among whom have been Maggie 
Mitchell, Janish, Mary Anderson, Marie Prescott, 
Minna Gale, Marie Wainwright, Eugenie Blair, 
Maude Banks, Julia Marlowe, Julia Arthur, and 
Henrietta Crosman. 

In the Palace of the King, a drama in six acts 
by Lorimer Stoddard, from Francis Marion Craw- 
ford's romance of the same name, was produced at 
the Richmond Theatre in North Adams, Massa- 
chusetts, on September 17, 1900. In the following 
month it was played in Chicago, and on December 
31 began a long run at the Theatre Republic in 
New York. The cast was : 

Philip the Second Eben Plympton. 

Don John of Austria Robert T. Haines. 

Cardinal Luis de Torres Edgar L. Davenport. 

Antonio Perez C. Leslie Allen. 

Miguel de Antona William Norris. 

Captain de Mendoza J. H. Benrimo. 

Don Lope Zanata Eugene Sweetland. 

Anne, Queen of Spain Margaret Shaffer. 

Princess of Eboli Marcia Van Dresser. 

Duchess of Alva Sue Van Duser. 

Dowager Duchess of Medina Si- 

donia Blanche Moulton. 

Madame la Comtesse de Baume . Mabel Norton. 

Dona Mencia Lida Hall. 

Dona Inez Gertrude Norman. 

Dona Maria Dolores de Mendoza. Viola Axlen. 

During the engagement at the Theatre Repub- 
lic, Charles Kent replaced Mr. Plympton as King 
Philip the Second, and when the play began its 
tour of the United States at the beginning of the 



138 pay£ of tfje #te£ent. 

season of 1901-1902, W. E. Bonney appeared as 
the King, William Pascoe as Don John of Austria, 
Walter Hitchcock as the Cardinal, Arthur T. Hoyt 
as Miguel, Jennie Eustace as the Princess Eboli, 
and Adelaide Warren as Dona Inez. 

The Ironmaster, a drama in four acts adapted 
by Arthur W. Pinero from Georges Ohnet's "Le 
Maitre de Forges," was produced at the St. James's 
Theatre in London, on April 17, 1884. The cast 
of characters was as follows : 

Due de Bligny Edward J. Henley. 

Octave George Alexander. 

Baron de Prefont Herbert Waring. 

Philippe Derblay W. H. Kendal. 

General de Pontac Mr. Brandon. 

Moulinet J. F. Young. 

Bechelin J. Maclean. 

Dr. Servan A. Knight. 

Old Gobert R. Cathcart. 

Young Gobert Mr. Day. 

Mouchot " Daniels. 

Marquise de Beaupre Mrs. Gaston Murray. 

Baronne de Prefont Linda Dietz. 

Claire de Beaupre Mrs. Kendal. 

Athenais Miss Vane. 

Suzanne Derblay " Webster. 

te " Turtle. 



"Le Maitre de Forges," the original of "The 
Ironmaster," was performed for the first time at 
the Gymnase-Dramatique in Paris, on December 
15, 1883, Philippe Derblay being acted by M. J. 
Damala, and Claire by Mile. Jane Hading. An 
English version of M. Ohnet's novel, from which 



$Iap£ of tfje $te$tnt, 139 

he derived his play, had been previously made by 
Robert Buchanan, and was produced at the Globe 
Theatre, in London, on April n, 1883. 

During the first American tour of Mr. and Mrs. 
Kendal, "The Ironmaster" held a leading place in 
their repertory, and was played here by them for 
the first time, on October 17, 1889, at the Fifth Ave- 
nue Theatre, New York. Sarah Bernhardt had pre- 
viously acted Claire in the original version in New 
York and other American cities, and "The Iron- 
master" had been given by the stock company at 
Wallack's Theatre. In the Kendal production, 
Mr. and Mrs. Kendal acted their original charac- 
ters, and Moulinet was interpreted by J. E. Dod- 
son, the Due de Bligny by Joseph Came, and the 
Duchesse de Bligny by Florence Cowell. 

"The Ironmaster" has also been played by Kyrle 
Bellew and Mrs. Potter in this country, and it is 
even now revived occasionally by local stock 
companies. 

Janice Meredith, a version of Paul Leicester 
Ford's novel of the same name, arranged for the 
stage by Edward E. Rose and Mr. Ford, was pro- 
duced at the Star Theatre in Buffalo, on October 
I, 1900, Mary Mannering then making her first 
appearance as a star. The play was in four acts, 
and was cast as follows : 

Charles Fownes Robert Drouet. 

Philemon Hennion Burr McIntosh. 




ho payg of tijc $regcnt. 



Lord Clowes A. S. Lipman. 

Lieutenant Mobray George Backus. 

Colonel Rahl Carl Ahrendt. 

Squire Meredith Charles M. Collins. 

Squire Hennion Martin J. Cody. 

Joe Bagley Aubrey Beattie. 

Lieutenant Baker John D. O'Hara. 

Trooper Rossmore R. R. Neill. 

Mrs. Meredith Louise Rial. 

Tabitha Drinkwater Amy Ricard. 

Sukey _ Vivian Bernard. 

Janice Meredith Mary Mannering. 



It proved to have no distinctive merit as a 
drama, but served very well for the exposition of 
Miss Mannering's talents. On December 10 it 
began an engagement at Wallack's Theatre in 
New York, and thereafter, during the remainder 
of the season of 1900-1901 and a portion of the 
following season, was played in many of the prin- 
cipal cities of the United States. 

Jim the Penman, a drama in four acts by Sir 
Charles Young, was produced at the Haymarket 
Theatre, London, on April 3, 1886. It was an- 
nounced as "a romance of modern society," and 
became almost immediately the most popular drama 
of its decade. Sir Charles Young was no novice 
in stagecraft, but until "Jim the Penman" he had 
never written a popular play. Only a short time did 
he enjoy the fruits of his long-delayed success, for 
he died a little more than a year after his famous 
play was brought out. The cast was : 




MARY MANNERING, 

As Janice Meredith. 



$Iap£ of tfje ^regent. 



141 



lames Ralston Arthur Dacre. 

Louis Percival Maurice Barrymore. 

Baron Hartfeld H. Beerbohm Tree. 

Captain Redwood Charles Brookfield. 

Lord Drelincourt Edmund Maurice. 

Agnes Ralston Helen Leyton. 

Lady Dunscombe Henrietta Lindley. 

Mrs. Chapstone Mrs. E. H. Brooke. 

Mrs. Ralston Lady Monckton. 

It ran for several months at the Haymarket 
Theatre, and when sent on the road was every- 
where enthusiastically received. Three years 
later, on June 8, 1889, the Shaftesbury Theatre, 
London, was opened with "Jim the Penman." The 
distinguishing feature of this performance was 
E. S. Willard's James Ralston, which was remark- 
able for its ease and finish and wonderfully con- 
centrated power. Lady Monckton and Henrietta 
Lindley played their original parts. 

"Jim the Penman" was not long in crossing the 
water, as A. M. Palmer had at once secured the 
American rights. It was brought out at the Madi- 
son Square Theatre, New York, November 1, 1886, 
and ran the entire season there, drawing crowded 
houses. On going to Boston in May, 1887, it was 
given with the original Madison Square cast, with 
two or three exceptions, the principal change being 
that W. J. Le Moyne no longer played Baron Hart- 
feld. Frederic Robinson as Jim the Penman, H. M. 
Pitt as Percival, Louis Massen as Lord Drelin- 
court, J. B. Booth, Jr., as Jack Ralston, and Marie 
Burroughs as Agnes Ralston were all good; but 



1 12 $Iap£ of t$e $te£ent 

there were three players whose work immediately 
impressed both the public and the critics as being 
far beyond even that of the excellent company 
which surrounded them. These were Agnes Booth, 
whose Mrs. Ralston still remains one of the most 
artistic of her characterizations; Alexander Sal- 
vini, who, as Baron Hartfeld, gave a most surpris- 
ing piece of eccentric comedy, and E. M. Holland, 
who played Captain Redwood with an elaboration 
of detail which marked him as one of the clever 
character actors of his generation. 

Since then "Jim the Penman" has been given 
from ocean to ocean by players of every grade, 
and it has invariably been received with marked 
favor by all classes of playgoers. 

King Arthur, a romantic drama by J. Comyns 
Carr, was produced at the Lyceum Theatre, Lon- 
don, on January 12, 1895. For some time Irving 
had had the subject of the Arthurian legends in 
mind for a play, and it was only after a good deal 
of hesitation that the temptation and fall of Guine- 
vere was chosen as the leading motive of Mr. 
Carr's drama. Its story came, however, not from 
the Tennyson "Idylls," but directly from the origi- 
nal version of Sir Thomas Malory. An elaborate 
production was prepared, with all the scenic acces- 
sories which have made the name of Irving famous 
the world over. The cast on the first night was 
as follows : 



papg of tfje §&regent. 143 



King Arthur Henry Irving. 

Sir Lancelot Forbes Robertson. 

Sir Mordred Frank Cooper. 

Sir Kay Mr. Tyars. 

Sir Gawaine Clarence Hague. 

Sir Bedevere Fuller Mellish. 

Sir Agravaine Mr. Lacy. 

Sir Percevale " Buckley. 

Sir Lavaine Julius Knight. 

Sir Dagonet Martin Harvey. 

Merlin Sydney Valentine. 

Messenger Mr. Belmore. 

Gaoler " Tabb. 

Morgan Le Fay Genevieve Ward. 

Elaine Lena Ashwell. 

Clarissant Annie Hughes. 

Spirit of the Lake Maud Milton. 

Genevieve Ellen Terry. 

The premiere of "King Arthur" was one of the 
most distinguished first nights in the London the- 
atrical world. All the notabilities were present, 
and at the conclusion of the performance the actors 
were called out again and again. The audience 
would not leave until Mr. Irving had made one of 
his characteristic speeches, which presaged for 
"King Arthur" its especially auspicious career both 
in England and this country. 

Irving's acting of King Arthur was, however, 
an unfortunate mistake. If ever he were unfitted 
for any character, it was for that of England's 
mythical king, who should be the embodiment of 
the ideal, the poetic, and the romantic. Not even 
Irving's great technical skill could give the per- 
sonality of the hero what it lacked in those respects. 

"King Arthur" was produced for the first time 



i 4 4 =pap£ of tfje $rc£ent. 

in America at the Academy of Music, Montreal, on 
September 19, 1895. On the first of the following 
month it was given for the first time in the United 
States at the Tremont Theatre, Boston, and on the 
4th of November it reached New York, where it 
was performed at Abbey's (now the Knicker- 
bocker) Theatre. The cast on these occasions dif- 
fered slightly from that of the original perform- 
ance, Ben Webster replacing Forbes Robertson as 
Sir Lancelot, Mary Rorke succeeding Genevieve 
Ward as Morgan Le Fay, Julia Arthur appearing 
as Elaine, and Ailsa Craig, Ellen Terry's daugh- 
ter, as Clarissant. 

King Charles I, a drama in four acts by William 
Gorman Wills, was produced at the Lyceum Thea- 
tre in London on September 28, 1872. The cast 
was: 

Charles I Henry Irving. 

Oliver Cromwell George Belmore. 

Marquis of Huntley Mr. Addison. 

Lord Moray E. F. Edgar. 

Ireton R. Markby. 

p„„„„ ( Miss E. Mayne. 

Pages \ " J.Henri. 

Princess Elisabeth " Harwood. 

Prince James " Allcroft. 

Prince Henry " Welch. 

Lady Eleanor Davys " G. Pauncefort. 

Queen Henrietta Maria Isabel Bateman. 

The Lyceum Theatre was managed by H. L. 
Bateman at the time that "King Charles I," or, as 



Papgofrt}e$re£ent. i 4S 

it was then called, "Charles the First," was pro- 
duced there. The original cast was not remark- 
able, Irving being the only actor who showed any- 
special merit; but there were good points in Mr. 
Wills's poetic drama if properly presented, and 
later, with Ellen Terry as the Queen, it became a 
feature of Irving's repertory. It was given by him 
during his first tour in this country in the season 
of 1 883-1 884, Miss Terry making her American 
debut as the Queen at the Star Theatre in New 
York, October 30, 1883, and since then has been 
seen in a number of his American visits. The last 
tour of Irving and Terry in this country opened 
with a performance of "King Charles I" at the 
Knickerbocker Theatre, New York, on October 
21, 19OI. 

Lady Huntworth's Experiment, a comedy in 
three acts by R. C. Carton, was produced at the 
Criterion Theatre in London on April 26, 1900. 
The play was written for the special purpose of 
providing a suitable character for Mr. Carton's 
wife, Miss Compton, and gained an immediate 
popularity. The cast of characters was : 

Captain Dorvaston Arthur Bourchier. 

Rev. Audley Pillenger Eric Lewis. 

Rev. Henry Thoresby A. E. Matthews. 

Gandy Ernest Hendrie. 

Newspaper Boy Master Reginald Denny. 

Mr. Crayll Dion Boucicault. 

Miss Hannah Pillenger Fanny Coleman. 

10 



i 4 6 papiG? of tfje $zt$mt 



Lucy Pillenger Gertrude Elliott. 

Keziah Pollie Emery. 

Caroline Rayward Miss Compton. 



The American rights to the play were secured 
by Daniel Frohman, and it was produced for the 
first time in this country at Daly's Theatre, New 
York, on December 21, 1900. The cast : 

Captain Dorvaston John Mason. 

Rev. Audley Pillenger Grant Stewart. 

Rev. Henry Thoresby William Courtenay. 

Mr. Crayll Jameson Lee Finney. 

Newspaper Boy Master Reginald. 

Gandy William F. Owen. 

Miss Hannah Pillenger Mrs. Charles Walcot. 

Lucy Pillenger Cecilia Loftus. 

Keziah May Robson. 

Caroline Rayward Hilda Spong. 

The play was continued several months at Daly's 
Theatre, and during the following season was 
given in other cities. The changes in the cast in- 
volved the appearance of Arthur Forrest as Cap- 
tain Dorvaston, Beatrice Morgan as Lucy Pillen- 
ger, Mrs. Thomas Whiffen as Miss Hannah Pil- 
lenger, and Nevada Hefron as Keziah. 

Lady Windermere's Fan, a comedy in four acts 
by Oscar Wilde, was produced at the St. James's 
Theatre in London on February 20, 1892, the cast 
including George Alexander as Lord Winder- 
mere, Nutcombe Gould as Lord Darlington, H. 
H. Vincent as Lord Augustus Lorton, Fanny Cole- 




JAMESON LEE FINNEY, and HILDA SPONG. 

As Mr. Crayll. As Caroline Rayward. 

in Lady Huntworth's Experiment. 



$Iapg of tfyt $te$tnt, 147 

man as the Duchess of Berwick, and Lily Hanbury 
as Lady Windermere. Miss Hanbury was suc- 
ceeded after a few performances by Winifred 
Emery. The first performance of "Lady Winder- 
mere's Fan" in this country occurred at the Co- 
lumbia Theatre in Boston on January 23, 1893, the 
New York engagement beginning at Palmer's 
Theatre on February 6. The cast was as follows : 

Lord Windermere Edward M. Bell. 

Lord Darlington Maurice Barrymore. 

Lord Augustus Lor ton E. M. Holland. 

Mr. Charles Dumby J. G. Saville. 

Mr. Cecil Graham Walden Ramsay. 

Mr. Hopper Edward S. Abeles. 

Parker, a butler Guido Marburg. 

Lady Windermere Julia Arthur. 

Duchess of Berwick Mrs. D. P. Bowers. 

Lady Plymdale Miss Jackson. 

Lady StutHeld " Henderson. 

Mrs. Cowper-Cowper " Barrington. 

Lady Jedburg Emily Seward. 

Lady Agatha Carlisle Miss Urhart. 

Mrs. Erlynne May Brookyn. 

Rosalie, a maid Miss Vislaire. 

In the opinion of both critics and public, Mr. 
Wilde's play was undeniably clever, and it was 
given during a portion of the following season 
by Mr. Palmer's company, there being no essen- 
tial changes in the cast. During the past decade 
it has been revived both in England and Amer- 
ica at infrequent intervals. 

Led Astray, a drama adapted by Dion Bouci- 
cault from Octave Feuillet's "La Tentation," was 



i 4 8 $fap£ of tljc $re£cnt. 

produced at the Union Square Theatre, New York, 
on December 8, 1873. For some time it passed 
as Boucicault's own work, but the discovery was 
soon made that its original might be found in the 
published plays of Octave Feuillet under the title 
of "La Tentation." Investigation showed that 
Boucicault had altered his original much less than 
was his wont, and that he had done little else than 
change the names of the characters and a few of 
the incidents. The scene of "La Tentation" is laid 
in Normandy and Paris, and the characters are 
French, except George Gordon Trevelyan, who is 
a poet of Irish origin, and Cowperson, a comic 
Englishman who frequently expresses himself in 
his own language. Trevelyan appears in Bouci- 
cault's version as George de Lesparre, a French 
novelist, and through the influences of a peculiar 
whirligig of fate is required to speak with a pro- 
nounced Gallic accent. Cowperson becomes an 
Irish major named O'Hara. Boucicault's other 
alterations consist chiefly in the substitution of 
the names of Rodolphe, Hector, Armande and 
Mathilde for those of Gontran, Achille, Camille 
and Helene. 

"La Tentation" was produced at the Theatre du 
Vaudeville in Paris in i860, with M. Lafont as 
the Count, and about five years later the first 
English adaptation was played at the Haymarket 
Theatre in London under the title of "A Danger- 
ous Friend." 



pap£ of t£c $regcnt. 149 

The original production of "Led Astray" ran 
for several months at the Union Square Theatre, 
and on March 16, 1874, it began at the Boston 
Museum an engagement lasting six weeks. It was 
announced as a new play "which has just attained 
its one hundredth representation in New York, 
and is still the reigning attraction of the metrop- 
olis." The cast was as follows : 

Count Rodolphe Chandoce Charles Barron. 

Hector Placide William Warren. 

Mount Gosline J. A. Smith. 

George de Lesparre W. H. Crisp. 

Major O'Hara W. J. Le Moyne. 

Lafontaine James Nolan. 

Robert S. W. Stanmsh. 

Countess Armande Chandoce Annie Clarke. 

Mathilde Mary Cary. 

Suzanne O'Hara Laura Phillips. 

Dowager Countess de Chandoce . . . Mrs. J. R. Vincent. 

Baroness de Rivoniere Miss M. Parker. 

Sophie Josie Bowne. 

In July, 1874, "Led Astray" had its first London 
production at the Gaiety Theatre, a special com- 
pany, including several American players, being 
engaged by Mr. Boucicault for the British sea- 
son. Armande was played by Helen Barry, an 
English actress who some years later became well 
known in this country; Rodolphe Chandoce was in- 
trusted to Charles R. Thorne, Jr. ; and the Hector 
Placide was Stuart Robson, who had been so well 
liked in the part by New York theatre-goers that 
Mr. Boucicault considered his services necessary 
to a London success. Mr. Robson's style, how- 



10 



* 



150 Papg of tfje ^re^cnt* 

ever, did not please many of the London critics, 
Dutton Cook writing in his review that "Mr. Rob- 
son's merits are not remarkable; he appears to be 
one of those unamusing low comedians who are 
already too numerous in our theatres." "Led 
Astray," nevertheless, took England by storm, 
for by 1875 it had a record of four hundred and 
ninety-eight performances at various London thea- 
tres, a sufficient evidence of its instant popularity. 
Henceforth, its success was only intermittent. 
There is record on February 22, 1879, °f a special 
matinee performance at the Olympic Theatre, with 
Miss Barry in her original role of Armande, and 
William Rignold, J. A. Rosier, F. H. Macklin, 
Mrs. Leigh Murray and Marie Daly in the other 
leading characters. Since then its performances 
have been few and far between. 

The Liars, a comedy in four acts by Henry Ar- 
thur Jones, was produced at the Criterion Theatre 
in London on October 6, 1897, and ran there con- 
tinuously, with the exception of the summer vaca- 
tion, until November 2, 1898. The original cast 
was as follows : 

Colonel Sir Christopher Deering . . Charles Wyndham. 

Edward Falkner T. B. Thalberg. 

Gilbert Nepean Herbert Standing. 

George Nepean Leslie Kenyon. 

Freddie Tatton A. Vane Tempest. 

Archibald Coke Alfred Bishop. 

Waiter Paul Berton. 

Taplin R. Lambart. 



pap£ of tije $re£cnt. 



1 S I 



Gadsby C. Terric. 

Footman A. Eliot. 

Mrs. Crespin Janette Steer. 

Beatrice Ebernoe Cynthia Brooke. 

Dolly Coke Sarah Brooke. 

Ferris Miss M. Barton. 

Lady Rosamund Tatton Irene Vanbrugh. 

Lady Jessica Nepean Mary Moore. 



After its withdrawal from the stage of the Cri- 
terion Theatre, "The Liars" was played in the 
English provinces. It was revived in London on 
June 20, 1900, at Wyndham's Theatre, with Mr. 
Wyndham, Mr. Standing, Mr. Tempest, Mr. 
Bishop, the two Misses Brooke, and Miss Moore 
in their original roles, T. B. Thalberg as Edward 
Falkner, Alfred Kendrick as George Nepean, Alice 
de Winton as Mrs. Crespin, and Miss E. Spencer 
Brunton as Lady Rosamund Tatton. 

The first performance of "The Liars" in this 
country was given in New York at the Empire 
Theatre, on September 26, 1898, the cast being 
as follows : 



Colonel Sir Christopher Deering .... John Drew. 

Edward Falkner Arthur Byron. 

Gilbert Nepean D. H. Harkins. 

George Nepean Orrin Johnson. 

Freddie Tatton Lewis Baker. 

Archibald Coke Harry Harwood. 

Waiter Frank E. Lamb. 

Taplin Darwin Rudd. 

Gadsby Frank Short. 

Footman Gardner Jenkins. 

Mrs. Crespin Marie Derickson. 

Beatrice Ebernoe Blanche Burton. 



1 5 2 $Iap£ of tfjc $rc£cnt. 



Dolly Coke Elizabeth Tyree. 

Ferris Clara Hunter. 

Lady Rosamund Tatton Annie Irish. 

Lady Jessica Nepean Isabel Irving. 



After a short run at the Empire Theatre, Mr. 
Drew and his company toured through the United 
States in Mr. Jones's play, the changes in the cast 
involving the appearance of Ethel Barrymore as 
Beatrice Ebernoe, Gertrude Gheen as Dolly Coke, 
Georgie Mendum as Ferris, and Gage Bennett as 
Gadsby. "The Liars" is occasionally played by 
resident stock companies. 



The Lights o' London, a melodrama in five acts 
by George R. Sims, was produced at the Princess's 
Theatre in London on September 10, 1881. The 
cast included the following players : 

Mr. Armytage G. R. Peach. 

Harold Armytage Wilson Barrett. 

Clifford Armytage E. S. Willard. 

Marks J. Beauchamp. 

Seth Preene Walter Speakman. 

Philosopher Jack Charles W. Coote. 

Percy de Vere, "Esq." Neville Doone. 

Trotters W. Waite. 

Joey Master Worley. 

Jarvis George Barrett. 

Jim W. J. Phipps. 

Shakespeare Jarvis Eugenie Edwards. 

Mrs. Jarvis Mrs. Stephens. 

Bess Miss Eastlake. 

Hetty Preene Emmeline Ormsby. 

Tottie Maude Clitherow. 

Sal Lizzie Adams. 

Janet Miss A. Cooke. 

Annie " G. Wright. 



$Iapg of tije $re£ent. 153 

To say that Sims's play was brought out under 
the management of Wilson Barrett is equivalent 
to saying that it was brought out as perfectly as 
melodrama can be ; for that actor, in starting on his 
career as manager of the Princess's Theatre, had 
resolved to produce well-written and interesting 
melodramatic pieces with the same painstaking 
care that had distinguished the great Shakesperian 
revivals of Charles Kean and Samuel Phelps. To 
this end he had gathered about him one of the 
best companies of players in the metropolis, and, 
aided by a stage manager who understood to 
perfection the manipulation of stage crowds, so 
essential to every stirring melodrama, and by some 
of the cleverest of London's scenic artists, he was 
in a position to show theatre-goers that even a 
sensational and exciting play could be given so 
skilfully as to win for it respect as a work of art. 

In "The Lights o' London" Mr. Barrett gave 
a spirited and manly interpretation of the part of 
the hero, Harold Armytage, while an admirable 
contrast to him was afforded by Mr. Willard, who 
played the villain in an entirely unconventional 
manner. He was positively fascinating in his 
crimes, being natural and not at all stagy; as 
a cool, white-livered, satirical, thoroughly bad 
youth, his part merited all the hisses which the 
gallery liberally bestowed. One of the cleverest 
bits of acting was the Philosopher Jack of the late 
Charles W. Coote, who was destined to be con- 
nected with other successes of Mr. Barrett. 



i 5 4 pap£ of tfje $tt$mt 

The scene in the Borough on a Saturday night 
was a marvel of stage realism. There was the 
shouting of the costermongers, the jingle of the 
piano-organ, the screams and yells of the low, vul- 
gar creatures who swarmed in and out of the 
public-houses, the life of a London slum, in all 
its hideousness, being depicted so truthfully as to 
be absolutely painful. Nothing more effective in 
stage management than the fight in the streets 
had been seen in London for years; there was no 
effect of training or drill, and the critics of the 
day had to go back to the visit of the famous 
Meiningen Company to find a parallel to the won- 
derful manipulation of the stage forces. 

The play was seen in New York and Boston 
the same season, although it was not given as 
realistic a representation as it received in London. 
Since then it has been revived again and again, 
especially at the lower-priced theatres, and is likely 
to hold the boards long after many more meri- 
torious plays are forgotten. 

Little Lord Fauntleroy, a dramatization of her 
own story of the same name, by Mrs. Frances 
Hodgson Burnett, was produced at the Boston 
Museum on September io, 1888, with the follow- 
ing cast : 

Earl of Dorincourt Henry M. Pitt. 

Mr. Havisham, a solicitor C. Leslie Allen. 

Silas Hobbs, a grocer George W. Wilson. 




COPYRIGHT, 1888, BY NAPOLEON SAP, 



ELSIE LESLIE, 

As Little Lord Fauntleroy. 



papg of tJje $re£ent. 155 

Wilkins, a groom James Nolan. 

Higgins, a farmer Thomas L. Coleman. 

Thomas, a footman H. P. Whittemore. 

Cedric Errol, Lord Fauntleroy . . . Elsie Leslie. 

Dick Tipton, a shoeblack Miriam O'Leary. 

Mrs. Errol Viola Allen. 

Minna Annie M. Clarke. 

Mary Kate Ryan. 

Jane Grace Atwell. 

After a run of ten weeks the piece was with- 
drawn, to be revived again late in the next spring 
for a further engagement of thirteen weeks. Since 
then it has been given all over the country, and, 
besides Elsie Leslie, such juvenile players as 
Tommy Russell, Alice Pierce, Olive Homans, and 
Lillian Masterson have been seen in the title char- 
acter. 

"Little Lord Fauntleroy" revived, for a time, 
the juvenile drama which had been lying dormant 
for a number of years, and established a craze for 
child acting which is happily now restricted within 
sensible bounds. It was no unusual thing for a 
Museum matinee audience during the run of Mrs. 
Burnett's piece to resemble a nursery, and the sobs 
and cries of the feminine portion of the spectators 
at the parting of the little earl from his mother 
were either pathetic or ludicrous, according to the 
temperament of the onlooker. A short time later 
Mrs. Burnett's "Editha's Burglar" was drama- 
tized by Augustus Thomas into a full-fledged 
three-act play, and helped to carry on the passion 
for theatrical juvenility. 



1 5 6 pap£ of tfje ^regent 

The first performance of "Little Lord Fauntle- 
roy" was in many ways a notable one. Mr. Pitt 
played the earl in one of his strongest and most 
distinctive moods, while Mr. Allen's Havisham, 
Mr. Wilson's Hobbs, and Miss Clarke's Minna 
would have helped on the play toward popular 
victory even if it had had no bolstering power 
from without. Miss Allen's Mrs. Errol was also 
a memorable rendering of that character, and, with 
the others of the cast, drew many people to the 
Museum who were not especially interested in the 
play itself, but appreciated the acting at its true 
value. 

The Little Minister, a comedy in four acts, 
dramatized by James Matthew Barrie from his 
novel of the same name, was produced at the 
Lafayette Square Opera House in Washington, on 
September 13, 1897, and on the twenty-seventh of 
the same month began its long New York run at 
the Empire Theatre. The original cast was : 

Gavin Dishart Robert Edeson. 

Lord Rintoul Eugene Jepson. 

Captain Halliwell : . . . Guy Standing. 

Lady Babbie Maude Adams. 

Felice Margaret Gordon. 

Twaits Frederick Spencer. 

Thomas Whamond William H. Thompson. 

Bob Dow George Fawcett. 

Micah Dow Jessie Mackaye. 

Snecky Hobart Wallace Jackson. 

Andrew Mealmaker R. Peyton Carter. 

Silva Tosh Norman Campbell. 



papg of ttje $rc£cnt i 5 7 



Sergeant Davidson Wilfred Buckland. 

Joe Cruikshanks Thomas Valentine. 

Nannie Webster Kate Ten Eyck. 

Jean Nell Stone Fulton. 



Mr. Barrie's play differed essentially from the 
novel on which it was founded. In it the gypsy 
Babbie is the Lady Barbara, daughter of Lord 
Rintoul, and she merely masquerades as one of 
the "accursed Egyptians" in order that she may 
alarm the villagers of Thrums against the advance 
of the British soldiery. She meets Gavin Dishart 
by chance in the wood, saves herself from the sol- 
diers by claiming to be his wife, and henceforth 
the little minister has a duty divided between the 
kirk and the girl whom he loves in spite of him- 
self. Her witchery completely enthralls him. In 
the end, Lord Rintoul seeks to keep Gavin Dishart 
and Babbie apart, but naturally succeeds only in 
turning the tables upon himself. The play ends 
with his forgiveness, and the retirement of the 
couple into the old manse, while outside the neigh- 
bors keep up a bit of farcical by-play in their en- 
deavors to catch through the window and door a 
glimpse of the happy pair. 

After running six weeks at the Empire Theatre, 
until November 6, "The Little Minister" was 
transferred to the Garrick Theatre on the following 
Monday, November 8, and remained at that house 
until June 14, 1898, the entire New York engage- 
ment covering thirty-seven weeks and two hun- 



158 $Iap£ of tl)e $tegent. 

dred and ninety-nine performances. For two sea- 
sons thereafter Miss Adams played Lady Babbie 
on tour and in New York, her final engagement 
in that city being played in 1 899-1 900 at the Cri- 
terion Theatre. During this period Mr. Edeson 
continued to play Gavin Dishart, and there were no 
important changes in the cast. 

"The Little Minister" was performed for the 
first time in London on November 6, 1897, at the 
Theatre Royal, Haymarket, with Cyril Maude as 
Gavin Dishart, and Winifred Emery as Lady Bab- 
bie. It had a long run there, and has been also 
played extensively through the United Kingdom. 

Lord and Lady Algy, a comedy in three acts by 
R. C. Carton, was produced at the Comedy Theatre 
in London on April 21, 1898, with Charles Haw- 
trey and Miss Compton in the title roles, Eric 
Lewis as the Marquis of Quarmby, and Henry 
Kemble as the Duke of Droneborough. It was, to 
quote a contemporary critic, "a veritable mosaic of 
humor." The American rights were secured by 
Charles Frohman, and it was produced at his 
Empire Theatre in New York on February 15, 
1899, the cast being as follows : 

Duke of Droneborough W. H. Crompton. 

Marquis of Quarmfiy Guy Standing. 

Lord Algernon Chetland William Faversham. 

The Hon. Crosby Jethro J. H. Benrimo. 

Captain Standidge G. W. Howard. 

Brabazon Tudway E. Y. Backus. 



papg of tfje $r$sfent i 59 



Richard Annesley John R. Sumner. 

Montague Denton George C. Pearce. 

Mr. Jeal W. H. Workman. 

Kinch John Armstrong. 

Swepson George Osbourne, Jr. 

Mawley Jemmett Joseph Wheelock, Jr. 

Wyke Frank Brownlee. 

Lady Algernon Chetland Jessie Mill ward. 

Lady Pamela Mallison Marian Gardiner. 

Ottiline Mallinson Lillian Thurgate. 

Emily Cardew Louise Maltman. 

Mrs. Vokins May Robson. 

Mrs. Brabazon Tudway Blanche Burton. 

After a successful run in New York, it was 
taken on tour at the beginning of the season of 
1899-1900, Mr. Faversham and Miss Millward 
appearing in the title roles. There were but few 
changes in the cast, Hon. Crosby Jethro being 
acted by John Frederick Cook, and Mrs. Vokins by 
Fanny Addison Pitt. 



Lord Chumley, a comedy in three acts by David 
Belasco and Henry C. De Mille, was produced 
at the Lyceum Theatre in New York, on August 
20, 1888. The cast was as follows : 

Lord Chumley E. H. Sothern. 

Adam Butter-worth Charles B. Bishop. 

Lieutenant Hugh Butterworth .... Francis Carlyle. 

Gasper Le Sage Herbert Archer. 

Tommy Tucker Rowland Buckstone. 

Blink Blunk George Backus. 

Winterbottom A. W. Gregory. 

Eleanor Belle Archer. 

Jessie Deane Dora Leslie. 

Lady Adeline Barker Fanny Addison. 

Meg Etta Hawkins. 



i6o pfap£ of tfje present. 

"Lord Chumley" in itself was not of a very- 
high order of merit, but Mr. Sothern's imper- 
sonation of the title character secured for it a con- 
tinued existence of several seasons. Although in 
recent years Mr. Sothern has become an actor of 
romantic and tragic parts, he possesses the light, 
facile touch of the born comedian, and in Lord 
Chumley he made his audiences feel that the in- 
nate humor of his creation was something for 
which he alone, and not the dramatist, was re- 
sponsible. It was frankly an artificial creation, 
and from that point of view was irresistibly comic 
and farcical. 

In later performances of "Lord Chumley," 
Adam Butter-worth was played by Rowland Buck- 
stone, Gasper Le Sage by Morton Selten, Tommy 
Tucker by Tully Marshall, and Lady Adeline Bar- 
ker by Kate Pattison-Selten. 

Louis XI, a drama in five acts adapted from the 
French of Casimir Delavigne, was first performed 
in English, in a version by W. R. Markwell, at the 
Theatre Royal, Drury Lane, London, on February 
14, 1853, the cast including E. L. Davenport as 
the King, Edward Stirling as Nemours, Henry 
Wallack as Coitier, and Fanny Vining as Marie 
de Comines. The next year Dion Boucicault 
brought out his now famous version — the one 
which Henry Irving uses — in New York. In the 
midst of his famous Shakespearian revivals in 



pfopg of tfje $tc$cnt* i e i 

1855, Charles Kean put on Boucicault's adapta- 
tion at the Princess's Theatre, modeling his rep- 
resentation of the French king upon the imperson- 
ation of that character by Ligier. 

Charles Dillon was also a famous representative 
of Louis XI, giving his performance for the first 
time in London on March 22, 1858, the occasion 
being a benefit for himself and his wife. As late 
as October 18, 1875, he was seen as the King, play- 
ing at the Theatre Royal, Hull, under the man- 
agement of Sefton Parry. Katherine Mackenzie 
Compton was the Dauphin of that performance. 

Henry Irving's first appearance in "Louis XI" 
was at a benefit at the Princess's Theatre, Man- 
chester, May 4, 1865, when he played the Due 
de Nemours. He afterward appeared both as 
Tristan and Coitier. He first acted the King at 
the Lyceum Theatre on March 9, 1878, and contin- 
ued in the part during the entire three months' run, 
with James Fernandez in the character of Coitier, 
Albert G. Andrews as the Dauphin, Frank Clem- 
ents as Philip, Mrs. Chippendale as Martha, and 
Virginia Frances Bateman as Marie. When he 
came to this country in 1883, he brought out "Louis 
XI" at the Star Theatre in New York, for the first 
time here, on November 5, supported by William 
Terriss as Nemours, and Jessie Millward as 
Marie. Irving's first engagement in Boston began 
with "Louis XI" at the Boston Theatre on Decem- 
ber 10, 1883, and he repeated it the following even- 
11 



1 62 $Iap£ of dje ^regent 

ing. Since then he has played the character on 
almost all of his American tours. 

Among the actors who have played Louis XI 
on the American stage are Edwin Booth, Walter 
Montgomery, C. W. Couldock, J. W. Albaugh 
(who used De Wal den's blank- verse adaptation), 
W. E. Sheridan, who played Markwell's version 
in 1880-1881, and Dion Boucicault, who acted the 
King in his own version in New York in 1879. 
Thomas W. Keene, shortly before his death, 
brought out a new adaptation, said to be from 
the pens of Arden Smith and Edwin Arden. His 
first appearance in New York in this version was 
on March 15, 1893. 

The Lyons Mail, a drama in five acts adapted 
by Charles Reade from "Le Courrier de Lyon," 
and rewritten by him for Henry Irving, was pro- 
duced at the Lyceum Theatre in London on May 
19, 1877, the cast being as follows : 

Joseph Lesurques ) Henry Irving. 

Dubosc ) 

Jerome Lesurques Thomas Mead. 

Didier E. H. Brooke. 

Joliquet Lydia Howard. 

M. Dorval Frank Tyars. 

Lambert Mr. Lowther. 

Guemeau " Glyndon. 

Postmaster " Collett. 

Coco " Branscombe. 

Garqon " Tapping. 

Guard " Harwood. 

Postillion " Allen. 

Courriol R- C. Lyons. 



JMapg of tfte ^regent 163 

Choppard Mr. Huntley. 

Fouinard J. Archer. 

Durochat Mr. Helps. 

Julie Lesurques Virginia Francis. 

Jeannette Isabel Bateman. 

The first play upon the subject, a historic case 
in the criminal annals of France, was "L'Ou- 
vrier de Messine," by Caigniez, the well-known 
French writer of melodrama. This was first 
brought out about the year 1810, and some twenty 
years thereafter an English version was produced 
at Dublin, called "The Courier of Naples." This 
play, however, dropped permanently out of sight, 
and was superseded by "Le Courrier de Lyon," 
which MM. Moreau, Siraudin, and Delacour wrote 
in 1850, the dramatists having obtained permis- 
sion of the heirs of Lesurques for the use of his 
name in their drama. On March 16, 1850, it was 
produced at the Theatre de la Gaite in Paris, with 
M. Lacressoniere, a prominent French actor of 
the period, in the dual role of Lesurques and 
Dubosc. As originally written, the play had two 
endings, Lesurques on one night going to the 
scaffold, and on the next night a reprieve arriving 
just in time to save him and allow the execution 
of the guilty Dubosc in his stead. 

This exciting melodrama was not long in cross- 
ing the Channel. John Coleman, the actor and man- 
ager, was the first adapter, and has told in a few 
words the way in which his version was super- 
seded by the superior arrangement which Charles 



i6 4 pap£ of tfje $re$?en& 

Reade later made. " 'The Courier of Lyons,' " in 
one respect, is a truly remarkable piece of stage- 
craft," says Mr. Coleman. "Most of Reade's 
dramas are distinguished by prolixity and redun- 
dancy, but here, in adapting another man's work, 
he produced a masterpiece of construction. Except 
Palgrave Simpson's adaptation of Edmund Yates's 
novel, 'Black Sheep,' which is a model of drama- 
tization, there is nothing on the modern stage 
which, for terseness, simplicity, and strength, can 
compare with Charles Reade's arrangement of 
the third and fourth acts of 'The Courier of Lyons.' 
Although a mere expression of individual opinion, 
this may at least be accepted as an impartial one, 
since I myself had previously adapted the play, 
and had acted it repeatedly, but, upon seeing 
Reade's version, I put my own into the fire. Ex- 
cellent as his manipulation of the work was, 'The 
Courier of Lyons' did not at that time do much 
to advance Mr. Reade's reputation." Versions 
were also given in London at the Standard, Vic- 
toria and Adelphi theatres, Leigh Murray appear- 
ing at the latter theatre in the dual role. On June 
26, 1854, at the Princess's Theatre in London, 
Charles Reade's adaptation was produced, with 
Charles Kean as Lesurques and Dubosc, David 
Fisher as Courriol, Mr. Addison as Choppard, 
Charlotte Leclercq as Julie, and Kate Terry as 
Joliquet. Again, in 1870, when "The Courier of 
Lyons" was revived at the Gaiety Theatre in Lon- 
don, Hermann Vezin acted the dual role. 



|Map£ of tfje $te$mt. 1 6 S 

The title of "The Lyons Mail" was first given 
to the English version of this drama by Mr. J. W. 
Clark when he brought out an altered arrange- 
ment for performance at Cambridge. This name, 
and not that originally given, is really the correct 
translation of the French title, and was adopted 
by Charles Reade himself when he rewrote the 
play for production at the Lyceum Theatre. Into 
this revision the dramatist introduced a scene from 
the original previously omitted, in which the father 
of Lesurques, believing in his son's guilt, urges 
him to commit suicide, and on his refusal attempts 
with his own hand to slay him. 

"The Lyons Mail" was given by Mr. Irving 
during his first tour of this country in 1883-1884, 
and has been repeated by him on several of his 
succeeding American engagements. 

Madame Butterfly, a play in one act adapted by 
David Belasco from a short story by John Luther 
Long, originally published in "The Century Maga- 
zine," was produced at the Herald Square Theatre, 
New York, on March 5, 1900, as an afterpiece to 
"Naughty Anthony," a three-act farce by Mr. 
Belasco, which had begun its run at that house 
on January 8, 1900. The cast: 

Cho-Cho-San Blanche Bates. 

Mr. Sharpless Claude Gillingwater. 

Lieutenant B. F. Pinkerton Frank Worthing. 

Yamadori Albert Bruning. 

Nakado Edward P. Wilks. 

Suzuki Marie Bates. 

Kate Katherine Black. 

11* 



1 66 pap£ of tfje $>rcgent 

The play proved one of the most effective one- 
act pieces known to the modern stage, and Miss 
Bates's acting of the heroine was highly com- 
mended. It was given at the Herald Square 
Theatre for about a month, and when Mr. Belasco 
went to London in April, to bring out Mrs. Carter 
in "Zaza" at the Garrick Theatre, he took the en- 
tire scenic outfit with him. After due preparation, 
it was produced for the first time in Great Britain 
at the Duke of York's Theatre, London, on Satur- 
day evening, April 28, 1900, as an afterpiece to 
Jerome K. Jerome's "Miss Hobbs," the cast being 
as follows : 

Cho-Cho-San Evelyn Millard. 

Mr. Sharp less Claude Gillingwater. 

Lieutenant B. F. Pinkerton .... Allan Aynesworth. 

Yamadori William H. Day. 

Nakado J. C. Buckstone. 

Suzuki Suzie Vaughan. 

Kate Janet Evelyn Sothern. 

"Madame Butterfly" ran until the close of the 
season at the Duke of York's Theatre, some two 
months and a half later, both the play and the act- 
ing being universally praised by the London press 
and public. 

At the beginning of the season of 1900-1901, 
"Madame Butterfly" and "Naughty Anthony" 
were made into a double bill under Mr. Belasco's 
direction, the tour extending through the Eastern 
States and as far west as Nebraska, from the mid- 
dle of September until the last of January. On 



$Iapg of tfje $regent 1 6 7 

February 18, 1901, "Madame Butterfly" was put 
on at Proctor's Fifth Avenue Theatre in New 
York as a part of the variety bill at that house, 
and was played there continuously twice a day 
for twelve weeks, closing on May 1 1. The cast for 
part of the season was : 

Cho-Cho-San Valerie Bergere. 

Mr. Sharp less Claude Gillingwater. 

Lieutenant B. F. Pinkerton Rankin Duvall. 

Yamadori Lew McCord. 

Nakado Edward P. Wilks. 

Suzuki Helena Phillips. 

Kate Mary Mackenzie. 

Midway in the engagement at the Fifth Avenue 
Theatre, Mile. Pilar-Morin replaced Miss Bergere 
as Cho-Cho-San, Mr. McCord succeeded Mr. 
Gillingwater as Mr. Sharpless, and Westropp 
Saunders appeared as Yamadori. A brief tour of 
"Madame Butterfly" at the beginning of the season 
of 1901-1902, with the cast as last given, except 
that Miss Bertha St. Clair played Suzuki, com- 
pletes its record to the present time. 

Magda is the name by which Hermann Suder- 
mann's drama of modern life, "Heimath," is known 
in the theatres of Great Britain and the United 
States. "Heimath" was produced at the Lessing 
Theater in Berlin in 1893, and is in many ways 
the most remarkable play of its era. Its career 
is almost unparalleled. It has been played in al- 
most all the languages of modern Europe : in Italy 



1 68 ptepg of tfje $tegent* 

by Eleanora Duse, in France by Sarah Bernhardt, 
in England and America by Modjeska, Mrs. 
Fiske, Mrs. Patrick Campbell, and other famous 
actresses; and in London, New York, and Boston 
it has been given in German, French, and Italian 
as well as in English. Its first performance in 
America was in the original German, at the Irving 
Place Theatre, New York, on October 9, 1893, with 
Charlotte Durand in the title character; a year 
later, it was revived at the same house, with Lucie 
Freisinger as Magda. The first actress to under- 
take the part in English was Mme. Modjeska, in 
a version prepared by her husband, Count Bozenta, 
and played during the season of 1893-1894, with 
Otis Skinner as Colonel Schwartse (called Schu- 
bert in this version), Howard Kyle as the Pastor, 
R. Peyton Carter as Von Keller, and Guy Linds- 
ley as Max. In 1 895-1 896 both Eleanora Duse 
and Sarah Bernhardt played "Magda" in the prin- 
cipal theatres of this country, the Italian version 
being known as "Casa Paterna," and the French 
as "Magda." Their New York appearances were 
made respectively at the Fifth Avenue Theatre on 
March 2, 1896, and at Abbey's (now the Knicker- 
bocker) Theatre on February 7, 1896. 

At the Lyceum Theatre in London, on June 3, 
1896, "Magda" was given in English for the first 
time in that city, although it had already been per- 
formed there in the original German, in Italian 
by Duse, and in French by Bernhardt. The Eng- 




MRS. PATRICK CAMPBELL. 

As Magda. 



$lapg of rtje $re£ent. i6 9 

lish version was by Louis N. Parker, and the 
cast was headed by Mrs. Patrick Campbell as 
Magda, Forbes Robertson as the Pastor, James 
Fernandez as Colonel Schwartze, and Scott Buist 
as Von Keller. In February, 1899, Mrs. Fiske 
gave a few performances of "Magda" at the 
Fifth Avenue Theatre, New York, and in 1901- 
1902 Mrs. Patrick Campbell, during her first tour 
of this country, made the Louis N. Parker version 
a prominent feature of her repertory. 

The Magistrate, a farce in three acts by Arthur 
W. Pinero, was produced at the Court Theatre in 
London on March 21, 1885, the cast being as 
follows : 

Mr. Posket Arthur Cecil. 

Mr. Bullamy Fred Cape. 

Colonel Lukyn John Clayton. 

Captain Horace Vale F. Kerr. 

Cis Farringdon H. Eversfield. 

Achille Blond Albert Chevalier. 

Isadore Mr. Deane. 

Mr. Wormington Gilbert Trent. 

Inspector Messiter Albert Sims. 

Sergeant Lugg Mr. Lugg. 

Constable Harris " Burnley. 

Wyke " Fayre. 

Agatha Posket Mrs. John Wood. 

Charlotte Marion Terry. 

Beattie Tomlinson Rose Norreys. 

Popham Miss La Coste. 

The farcical humor of "The Magistrate," its lu- 
dicrous intermingling of characters, and its quaint, 



170 $iap£ of tfje $tegent 

gentle and genuine spirit of mirth, secured for it 
immediate popularity. The play stands among 
the best results of Mr. Pinero's earlier and lighter 
style; and although it has none of those graceful 
and pungent elements of satire which characterize 
his later comedy, "The Amazons," its humor is 
equally direct and unforced. Although distinctly 
a play of the non-intellectual sort, and relying for 
its effects upon semi-boisterous scenes and compli- 
cated entanglements, it is remarkable that "The 
Magistrate" never descends for a moment to the 
level of knockabout farce. Its theme is well worth 
the three acts of its telling; and it does not iterate 
and reiterate one threadbare point, but is full of 
sudden surprises and unique situations. 

The popularity of "The Magistrate" was dupli- 
cated in this country when it was brought out in 
New York at Daly's Theatre on October 7, 1885, 
the cast being as follows : 

Aeneas Posket James Lewis. 

Colonel Lukyn John Drew. 

Mr. Bullamy Charles Fisher. 

Captain Horace Vale Otis Skinner. 

Sergeant Lugg Mr. Gilbert. 

Cis Farringdon Hamilton Bell. 

Achille Blond Frederick Bond. 

Sergeant Messiter Mr. Yorke. 

Charlotte Virginia Dreher. 

Beattie Tomlinson Edith Kingdon. 

Popham May Irwin. 

Agatha Posket Ada Rehan. 

An American production of equal excellence 
and note was that given by the stock company at 



papg of tfje $re£ent. i 7 1 

the Boston Museum on October 19, 1885, the cast 
being : 

Mr. Posket William F. Owen. 

Colonel Lukyn Charles Barron. 

Mr. Bullamy Alfred Hudson. 

Captain Horace Vale John B. Mason. 

Cis Farringdon William Seymour. 

Achille Blond James Burrows. 

Isadore Charles S. Abbe. 

Mr. Wormington A. R. Whytal. 

Wyke James Nolan. 

Inspector Messiter Louis Atkins. 

Sergeant Lugg Albert Lang. 

Constable Harris C. E. Boardman. 

Agatha Posket Annie Clarke. 

Charlotte May Davenport. 

Beattie Tomlinson Blanche Thompson. 

Popham Helen Dayne. 



During the season of 1896-1897, "The Magis- 
trate" was revived by Mr. Daly at his theatre in 
New York and on tour, the cast, with the excep- 
tion of Miss Rehan, being entirely different from 
that which presented Mr. Pinero's play on its pro- 
duction in this country. Mr. Posket was played 
successively by Edwin Stevens and Tyrone Power, 
Mr. Bullamy by William N. Griffiths, Colonel 
Lukyn by Herbert Gresham and Charles Richman, 
Captain Horace Vale by Sidney Herbert, Cis Far- 
ringdon by George Lesoir, Achille Blond by Wil- 
liam Sampson and William Hazeltine, Charlotte 
by Pauline French and Edith Crane, Beattie Tom- 
linson by Percy Haswell, and Popham by Sara 
Convere and Anne Coverly. 



172 $fap£ of tfje $>zt$mt. 

Man and Wife, a dramatic version of Wilkie 
Collins 's novel of the same name by Augustin 
Daly, was produced at the Fifth Avenue Theatre 
in New York on September 13, 1870, with the 
following cast: 

Geoffrey Delamayn D. H. Harkins. 

Sir Patrick Lundie James Lewis. 

Bishopriggs William Davidge. 

Arnold Brinkworth J. B. Polk. 

Anne Sylvester Clara Morris. 

Blanche Lundie Fanny Davenport. 

Lady Lundie Kate Newton. 

Mrs. Glenarm Linda Dietz. 

Hester Dethridge Mrs. G. H. Gilbert. 

Perry George Browne. 

Number One George Parkes. 

Number Two Mr. Bascomb. 

Number Three " Burnett. 

Jonathan " Beekman. 

Jo Kate Claxton. 



The first season of Augustin Daly's Fifth Av- 
enue Theatre had opened on August 16, 1869, with 
Thomas W. Robertson's "Play," but for his sec- 
ond year of New York management Mr. Daly de- 
termined upon something spiced with higher sen- 
sational flavor. Wilkie Collins was then at the top 
notch of his fame as a writer of sensational nov- 
els. "Man and Wife" was one of his latest suc- 
cesses, and Mr. Daly took advantage of its popu- 
larity by putting it into dramatic form and using 
it as the opening attraction for his second season. 
It proved to be an exceptionally strong work, and 
indeed gained in strength on account of the skil- 



$Iap£ of tye $tt$mt. i 73 

ful distribution of characters among the members 
of Mr. Daly's company. Although Clara Morris 
had been on the stage some years, she was un- 
known to fame until her acting of Anne Sylvester 
on the opening night of "Man and Wife" made 
her the talk of the town. Agnes Ethel at the last 
moment had failed to appear. Miss Morris, who 
had been cast for the character of Mrs. Glenarm, 
was selected as a last resort, and her part given 
to Linda Dietz. Her first scene proved that 
her powers of emotional expression were re- 
markable and that her style was wholly her own. 
She was not beautiful, and, while her elocutionary 
method was marked by astonishing crudities, every 
word she uttered was pregnant with meaning; 
and although Anne Sylvester is not an attractive 
woman, her power converted the sympathies of 
the audience. 

Boston playgoers saw "Man and Wife" for the 
first time on November 14, 1870, at the Boston 
Theatre, with Mrs. D. P. Bowers as Anne Sylves- 
ter, J. C. McCullom as Geoffrey Delamayn, C. 
Leslie Allen as Sir Patrick Lundie, and Mrs. 
Charles Poole as Hester Dethridge. At the Boston 
Museum, a fortnight later, another version was 
brought out, with William Warren as Sir Pat- 
rick, Charles Barron as Delamayn, Annie Clarke 
as Anne Sylvester, and Mrs. E. L. Davenport as 
Hester. 

Wilkie Collins's own dramatization of "Man and 



i74 Pap£ of tfje $tegent 

Wife" was not produced until February 22, 1873, 
when it was played for the first time at the Prince 
of Wales's Theatre in London, under the Ban- 
crofts' management. John Hare played Sir Pat- 
rick, Charles Coghlan was cast as Delamayn, and 
Lydia Foote as Anne Sylvester. Hester Deth- 
ridge, the dumb landlady, did not appear in this 
version. 



The Marble Heart, or The Sculptor's Dream, 
a drama in prologue and four acts adapted by 
Charles Selby from MM. Barriere and Thebout's 
drama of "Les Filles de Marbre," was produced at 
the Adelphi Theatre in London on May 22, 1854. 
The cast was as follows : 

Raphael Duchatlet Leigh Murray. 

Volage Benjamin Webster. 

Viscount Chateaumargaux Paul Bedford. 

Monsieur Veaudore Charles Selby. 

Marco Madame Celeste. 

Clementine Miss Cuthbert. 

Mariette Emma Harding. 

Marie Sarah Woolgar. 

Madame Duchatlet Mrs. Leigh Murray. 

A little over a month after Benjamin Webster 
assumed management of the Adelphi Theatre, he 
brought out Selby's adaptation. The original play 
had created considerable furor in Paris upon its 
performance in May of the previous year, when it 
had been produced at the Vaudeville with Charles 
Fechter as the hero. 



papg of tlje $zt$ mu 1 1 5 

"The Marble Heart" had a very successful ca- 
reer at the Adelphi, and was praised moderately 
in the press, the chief exceptions being taken to the 
manner in which the crucial scenes were prolonged 
beyond the point of interest, and to the allegorical 
prologue, which was found to have little or no 
relation to the drama itself. Mr. Murray achieved 
unexpected distinction in the leading character, 
and Madame Celeste also came in for a good share 
of praise. "While Mr. Murray's acting is the 
chief feature of the new drama," said the "Times," 
"Madame Celeste makes the most of a not very 
kindly part. Her quiet manner of acting the mar- 
ble-hearted lady, who sits in calm contemplation of 
her lover's distracted gestures, is as truthful as it 
is unobtrusive; and the remorse she feels when at 
last she sees the dead body of Raphael is depicted 
by a most terrific expression of countenance." 

The character of Raphael was a favorite one 
with Edwin Adams and Lawrence Barrett in the 
old stock days of the American theatre, and almost 
every actor of note was at some time or other 
seen in the drama, for it contained several good 
parts besides that of the hero. The original Amer- 
ican performance of the play was at the Metro- 
politan Theatre in San Francisco in January, 1855, 
with the parts thus distributed: 



Raphael Edwin Booth. 

Viscount Chateaumargaux Henry Coad. 

Volage Henry Sedley. 



1 7 6 $Iap£ of tye $te$mt 



Marco Mrs. C. N. Sinclair. 

Clementine " Burrill. 

Mariette Miss Lane. 

Marie " Mowbray. 

On April 23 of the following year it was 
brought out in New York at the Metropolitan 
Theatre, with George Jordan as Raphael, G. K. 
Dickinson as Volage, T. B. Johnston as Chateau- 
margaux, Laura Keene as Marco, Ada Clare as 
Fedora, Kate Reignolds as Marie, and Mary Wells 
as Madame Duchatlet. Its first performance in 
Boston, in September, 1856, was with Julia Ben- 
nett Barrow as Marco, Mrs. John Wood as Marie, 
and John Gilbert as Volage. One of the most fa- 
mous Raphaels of his time was John Wilkes Booth, 
a character in which Charles R. Thorne, Jr., was 
also successful, while F. B. Conway as the sculptor, 
and Mrs. Conway as Marco, were noted in their re- 
spective parts. Madame Ponisi used to play Marco, 
and John Brougham at one time acted Volage. Of 
late years, Robert B. Mantell has been the only star 
who has essayed the character of Raphael, al- 
though in many instances the local stock com- 
panies have given the play with satisfactory 
results. 

The Masqueraders, a drama in four acts by 
Henry Arthur Jones, was produced at the St. 
James's Theatre, London, on April 28, 1894, with 
George Alexander as David Remon and Mrs. Pat- 



$Iapg of tfje $zc$cnt. 1 7 7 

rick Campbell as Dulcie Larondie. At the same 
theatre, it will be remembered, "The Second Mrs. 
Tanqueray" was brought out the year previously, 
and "The Triumph of the Philistines" also saw 
first light there, so the St. James's may fairly be 
entitled the home of the so-called "problem play." 
After a successful London season Mr. Jones's 
drama was taken for a tour of the provinces by an 
extra company. Its New York season began at 
the Empire Theatre on December 3, 1894, the 
principal characters being assigned as follows : 

David Remon Henry Miller. 

Sir Brice Skene William Faversham. 

Montagu Lushington J. E. Dodson. 

Eddie Remon Joseph Humphreys. 

Hon. Percy Blanch/lower Robert Edeson. 

Sir Winchmore Mills, M.D W. H. Crompton. 

Lord Crandover Guido Marburg. 

George Copeland R. Weed. 

Fancourt Jameson Lee Finney. 

Jimmy Stokes W. H. Thompson. 

Dulcie Larondie Viola Allen. 

Helen Larondie Alice Fischer. 

Charley Wishanger Elsie De Wolfe. 

Lady Clarisse Reindean Ida Conquest. 

Lady Crandover Genevieve Reynolds. 

The play was well received by the New York 
theatre-going public, and ran there for several 
months, although the press was not very enthusi- 
astic in its praise. The consensus of opinion 
seemed to be that Mr. Jones's work possessed 
much literary merit, but that its situations were 
theatrical and artificial, with an undercurrent of 
12 



178 $lap£ of tfte $re£ent. 

pretense and insincerity growing mainly out of 
the old, old story which it told. "The Critic," 
to select one opinion out of many, said that it was 
"nothing more nor less than a drama of situation, 
superior to most of its class in imagination, work- 
manship and literary ability, but nevertheless an 
ordinary domestic melodrama, mainly dependent 
for its success upon the startling nature of its 
incidents." 

During the dramatic season of 1 895-1 896, "The 
Masqueraders" was presented in the large cities 
of the United States by the Empire Theatre stock 
company. 

A Message from Mars, a play in three acts by 
Richard Ganthony, was produced at the Avenue 
Theatre in London on November 22, 1899. Its 
story is similar to that of Dickens's "A Christmas 
Carol," and the play proved so effective that it was 
continued uninterruptedly in London for the 
greater part of two seasons. The cast was as 
follows : 

Horace Parker Charles Hawtrey. 

A Tramp Arthur Williams. 

Arthur Dicey C. M. Lowne. 

Dr. Chapman H. Stephenson. 

Mr. Ferguson E. W. Tarver. 

Sir E. Vivian Gayer Mackay. 

Policeman Lyston Lyle. 

Servant L. Grahame. 

Watchman H. Hudson. 

Sir Roland Wright G. Grossmith. 




CHARLES HAWTRY. 

As Horace Parker, in Message from Mars. 



papg of tfje $zt$ct\t 179 



Joe the Coster H. Ford. 

Jim Ernest Pope. 

"The Emperor" Master Harold de Becker. 

The Messenger from Mars. . G. S. Titheradge. 

Miss Parker Bella Pateman. 

Mrs. Clarence Hilda Hanbury. 

Bella Annette Sharpe. 

Polly Emily Spiller. 

A Flower Girl Sylvia Lovell. 

A Poor Woman Lydia Rachel. 

Girl Dorothy Grahame. 

Minnie Templer Jessie Bateman. 

On October 7, 1901, at the Garrick Theatre in 
New York, Mr. Hawtrey made his first appear- 
ance in this country, presenting "A Message from 
Mars" for the first time to an American audience. 
On that occasion, Mr. Hawtrey appeared in his 
original role of Horace Parker, and the Tramp was 
played by Robert Pateman, Arthur Dicey by E. 
W. Tarver, Dr. Chapman by Arthur Burne, The 
Messenger from Mars by H. Stephenson, Miss 
Parker by Bella Pateman, Mrs. Clarence by Flor- 
ence Sinclair, and Minnie Templer by Jessie Bate- 
man. The play and the star became immediately 
popular, and the engagement continued at the 
Garrick Theatre until Saturday evening, March 
15, 1902, when Mr. Hawtrey and his company 
returned to England. 

Michael and His Lost Angel, a play in five 
acts by Henry Arthur Jones, was produced simul- 
taneously at the Lyceum Theatre in London and at 
the Empire Theatre in New York on January 15, 



180 papg of ttje $re£ent. 

1896, and ran for less than two weeks on each side 
of the water. The Lyceum Theatre, during Henry 
Irving's tour of this country, was under the man- 
agement of Forbes Robertson, who expected to 
achieve great success in the new play which Mr. 
Jones had written upon the old theme best known 
through "The Scarlet Letter." An elaborate 
scenic production was provided, and the following 
cast selected, Miss Terry succeeding to the char- 
acter assigned to Mrs. Patrick Campbell, who 
withdrew just before the rehearsals were ended: 

Reverend Michael Feversham Forbes Robertson. 

Sir Lyolf Feversham M. Hathorn. 

Edward Lashmar Ian Robertson. 

Andrew Gibbard W. Mackintosh. 

Reverend Mark Docwray Joseph Carne. 

Withycombe John Willes. 

Audrie Lesden Marion Terry. 

Rose Gibbard Sarah Brooke. 

Mrs. Cantelo Henrietta Watson. 

Fanny Clover Mrs. E. H. Brooke. 

The play at once aroused a very acrimonious 
discussion, not so much over its artistic merits, 
as about the right to place upon the stage an in- 
tensely dramatic scene amid all the ceremonial and 
paraphernalia of the Church of England. The 
contest was futile, however, neither side giving 
way, and each contending emphatically that it had 
the only just side of the question. 

One peculiar outcome of the popular failure of 
the play is worth noting. In an "author's note" 
to the published version, Mr. Jones states that an 



$lapg of tfje $te£ent. 181 

impression prevailed in the public mind that the 
piece was a great financial failure. This, how- 
ever, was not the case, for the receipts the ten 
nights of its performance at the Lyceum Theatre 
were more than iioo higher than the receipts for 
the first ten nights of the very successful "Mid- 
dleman." "The great number of sympathetic let- 
ters," concludes Mr. Jones, "that I have received 
about the play, and its cordial reception on the 
later nights of the run, show that it created a deep 
impression on those who did see it, and encourage 
me to hope that I may introduce it again to the 
English public under happier auspices." 

The cast of the production in New York at the 
Empire Theatre was as follows: 

Reverend Michael Fever sham Henry Miller. 

Sir Lyolf Feversham W. H. Crompton. 

Edward Lashmar George E. Bryant. 

Andrew Gibbard J. E. Dodson. 

Reverend Mark Docwray Robert Weed. 

Withycombe E. Y. Backus. 

Audrie Lesden Viola Allen. 

Rose Gibbard Ida Conquest. 

Mrs. Cantelo Mrs. Annie Adams. 

Fanny Clover Ellen Gail. 

"Michael and His Lost Angel" was published, 
with an introduction by Joseph Knight, in the 
spring of 1896. 

The Middleman, a play in four acts by Henry 
Arthur Jones, was produced at the Shaftesbury 

12* 



1 82 Pap£ of tfte ^regent. 



Theatre in London on August 2.7, 1889. The cast 
was as follows : 

Cyrus Blenkarn E. S. Willard. 

Joseph Chandler W. Mackintosh. 

Captain Julian Chandler Henry V. Esmond. 

Batty Todd Harry Cane. 

Jesse Pegg E. W. Garden. 

Sir Seaton Umfraville Ivan Watson. 

Damper W. E. Blatchley. 

Vachell Royston Keith. 

Epiphany Danks Cecil Crofton. 

Postman T. Sidney. 

Mary Maude Millett. 

Nancy Annie Hughes. 

Mrs. Chandler Mrs. E. H. Brooke. 

Maude Chandler Agnes Verity. 

Lady Umfraville Josephine St. Ange. 

Felicia Umfraville Eva Moore. 

"The best drama Mr. Jones has yet given to the 
stage," was the verdict of the first-night audience 
that saw "The Middleman." It was seen that the 
dramatist was capable of writing a play original 
in plot and conception which could hold the at- 
tention of his hearers from the first scene to the 
last, and while some of his characters were but 
shadows, others were drawn with a firm, bold 
hand. The author's tendency to discuss social 
problems was shown occasionally, but the preach- 
ing and teaching were never tiresome. 

The cast of that first performance contains two 
names which have become thoroughly identified 
with their respective parts in both England and 
America — E. S. Willard, who played Cyrus Blen- 



fMapg of tfje $tt$mt. 183 

karn, and Harry Cane, who was the Batty Todd. 
Blenkam is probably the best character which Mr. 
Willard has ever created; the actor seems es- 
pecially fitted to portray the dreamy enthusiast, 
while no one could think of pushing, bustling 
Todd, with his glib speech and ready tact, with- 
out associating him with Mr. Cane's impersonation 
of the part. 

The season after its production in London, Mr. 
Willard brought the play to this country, where 
it was as enthusiastically received as it had been 
at home. Since then, he has given it repeatedly 
on his visits here, but our theatre-going public 
never wearies of it. Mr. Willard was not fortu- 
nate in his original choice of an actress to play 
the part of Mary, but on his tours here he has had 
such players as Marie Burroughs and Maud Hoff- 
man in the part, and the character has always been 
adequately presented. 

Mrs. Dane's Defense, a drama of modern life in 
four acts by Henry Arthur Jones, was produced 
at Wyndham's Theatre in London on October 9, 
1900, and ran there until the following May II, 
the cast including Charles Wyndham as Sir Dan- 
iel Carteret, Mary Moore as Lady Eastney, and 
Lena Ashwell as Mrs. Dane. On December 31, 
1900, it had its first presentation in this country, 
at the Empire Theatre, New York, and was con- 



1 84 pap£ of tfje $ttgent» 

tinued at that house the greater part of the re- 
mainder of the season. The original cast at the 
Empire Theatre was as follows: 

Sir Daniel (Mr. Justice) Carteret. Charles Richman. 

Lionel Carteret Joseph Wheelock, Jr. 

Canon Bonsey W. H. Crompton. 

Mr. Bulsom-Porter E. Y. Backus. 

Mr. James Risby Guy Standing. 

Mr. Fendick George Osbourne, Jr. 

Adams Frank Brownlee. 

Wilson George Sylvester. 

Lady Eastney Jessie Millward. 

Mrs. Dane Margaret Anglin. 

Mrs. Bulsom-Porter Ethel Hornick. 

Janet Colquhoun Margaret Dale. 

Although, perhaps, no man can hope to attain 
in the English drama what Thomas Hardy has 
reached in the English novel — the power of dom- 
inating his characters by the hand of fate alone — 
Mr. Jones showed in "Mrs. Dane's Defense" that 
he may at least be able to make fatality the most 
powerful element in his plays. It indicated a very- 
sudden and very pronounced artistic advance which 
may before long place him second to none among 
contemporary English dramatists. Its theme was a 
simple one, and involved the efforts of a woman 
with a so-called past to rehabilitate herself in Eng- 
lish society. The story was told straightforwardly 
and with exceptional dramatic power, the third act 
being especially striking both in its conception 
and development. The entire play was distinctly 
Mr. Jones's greatest achievement, with the possible 
exception of "Michael and His Lost Angel." 



$Iap£ of t$e $te$mt. 185 

When the Empire Theatre stock company began 
its tour at the opening of the season of 1901-1902, 
the cast differed somewhat from that of the open- 
ing performance just recorded. George Cooper re- 
placed Mr. Wheelock as Lionel Carteret, Stanley 
Dark appeared as Mr. James Risby, Ethel Hornick 
as Lady Eastney, and Mrs. Charles W. Brooke as 
Mrs. Bulsom-Porter. 



Mistress Nell, a romantic drama in four acts 
by George C. Hazleton, was produced in Denver 
on June 3, 1900, and on the ninth of the following 
October it was brought out at the Bijou Theatre 
in New York. The cast : 

King Charles II Aubrey Boucicault. 

James, Duke of York James A. Keene. 

Duke of Buckingham Geoffrey Stein. 

Earl of Rochester Herman Herschberg. 

Jack {Charles) Hart Hallett Thompson. 

Strings William Herbert. 

Dick Theodore Thompson. 

Swallow Edward Fowler. 

Buzzard James F. Jennings. 

Landlord T. J. McCarthy. 

Officer Louis F. Mintz. 

Page Clara Lima. 

Lady Hamilton Flora Morgan. 

Louise, Duchess of Portsmouth . . Adelaide Fitzallen. 

Moll Nellie Hancock. 

Nell Gwynn Henrietta Crosman. 

On October 29 it was transferred to the Savoy 
Theatre, and ran there for several months, Robert 
Edeson replacing Mr. Boucicault as the King for a 



1 86 papg of tije $ze$znt 

short period. After engagements in Boston and 
other cities, it returned to New York on April 
29, 1 90 1, for a reopening at Wallack's Theatre. 
During the season of 1901-1902, at the Theatre 
Republic in New York and elsewhere, "Mistress 
Nell" formed one of the plays in Miss Crosman's 
repertory, the cast including Henry Woodruff as 
King Charles II, Addison Pitt as the Duke of York, 
George Soule Spencer as the Duke of Buckingham, 
John Malone as Charles Hart, and Adele Block 
as the Duchess of Portsmouth. 

The Money Spinner, a drama in two acts by 
Arthur W. Pinero, was produced at the Prince's 
Theatre in Manchester, England, on November 5, 
1880, by William Duck's traveling company; and 
although the cast was not especially noteworthy, 
a new play by Pinero was enough of an event to 
send from London several of the most prominent 
critics, who eagerly telegraphed back the news of 
its great success. It was seen at once that it would 
prove in every way suited to the playgoers of the 
metropolis, and on January 8, 1881, it was given at 
the St. James's Theatre, London, by one of the best 
companies ever brought together in that city. The 
complete cast was as follows : 

Lord Kengussie W. H. Kendal. 

Baron Croodle John Hare. 

Harold Boycott John Clayton. 

Jules Faubert W. Mackintosh. 




HENRIETTA CROSMAN, 

As Nell Gwynn, in Mistress Nell 



3Mapg of tfje ^regent. 187 



Porter Mr. De Verney. 

Millicent Boycott Mrs. Kendal. 

Dorinda Croodle Kate Phillips. 

Margot Mrs. Gaston Murray. 

London received the play with unprecedented 
enthusiasm. The players were all seen at their 
best. Mrs. Kendal was affectionate and womanly 
as the wife who is tempted to do an unwomanly 
thing; Mr. Kendal made a chivalrous Lord Ken- 
gussie; Mr. Clayton gave a life-like portraiture 
of the pale-faced, terror-haunted man who had 
proved unfaithful to his trust, and Mr. Mackintosh 
was excellent as the detective bent on running 
down his victim at any cost. But the greatest im- 
personation of all was Mr. Hare's Baron Croodle, 
a diverting study, charged with true humor and 
the spirit of the finest and most seductive carica- 
ture. 

American playgoers had to wait nearly ten 
years before the Kendals brought the play to this 
country, when they included it in their repertory 
for a season. 



Monsieur, a domestic sketch in three acts by 
Richard Mansfield, was produced at the Madison 
Square Theatre in New York on July II, 1887, 
with the following cast: 

Alice Beatrice Cameron. 

Mrs. Elizabeth Ann Golden . . Mrs. Josephine Laurene. 
Mrs. Mary Pettygow Anne O'Neill. 



i88 papg of t|je $te$tnt 



Mrs. Morton Helen Gliddon. 

Sally Miss Johnstone Bennett. 

Tom Vanderhuysen John T. Sullivan. 

Ezra J. Golden D. H. Harkins. 

Morton Saunders , Joseph Frankau. 

Popples Harry Gwynette. 

Hon. Charles Mt. Vernon .... John Parry. 
Andre Rossini Mario de Jabot Richard Mansfield. 

Mr. Mansfield's play was constructed to fit him- 
self as a star, and in its way was remarkably good. 
It proved at once the actor's versatility as a play- 
wright, a musical composer, a singer, and a come- 
dian. Despite the natural temptation to give him- 
self all the good things, he generously divided the 
honors among his whole company, with the result 
that one, at least, — Miss Bennett, — made a success 
that almost overshadowed that of the star. Some 
of the events of the story were improbable, and 
one or two of the characters depicted were ex- 
aggerated far beyond reason ; but it was a pleasing 
play, finely acted, and certainly added greatly to 
the author-actor's reputation. In make-up Mr. 
Mansfield was the living picture of a proud and 
impecunious young Frenchman, and gave the lines 
of the poor music-teacher with a sincerity rarely 
found in this style of drama, while his singing and 
playing delighted the audience. 

Boston saw the new play early the next year, 
as it was brought out at the Globe Theatre on 
January 27, 1888, and in May it was given at the 
Museum. Of late years, Mr. Mansfield has 
dropped this piece from his repertory, although 



$Iapg of tfje f&tegent 1 8 9 

it would doubtless prove attractive should he de- 
cide to revive it. 

Monsieur Alphonse, a drama by Alexandre 
Dumas fils, was produced at the Gymnase Dra- 
matique, Paris, on November 26, 1873, with the 
following cast : 

Montaiglin M. Pujol. 

Octave M. Frederic Achard. 

Remy M. Martin. 

Dieudonne M. Dalbert. 

Raymonde Mme. Pierson. 

Mme. Guichard " Alphonsine. 

Adrienne " Lody. 

The original title of the play in the mind of 
Dumas was "Monsieur Jules," but when Jules San- 
deau heard of it he besought the author not to lay 
such a stigma upon his hitherto honorable name. 
Wishing to oblige his friend, Dumas changed the 
title to "Monsieur Octave," but thereupon Octave 
Feuillet arose and offered the same objection that 
Jules Sandeau had brought forward. So the 
obliging Dumas made another change and called 
his play "Monsieur Alphonse." Another com- 
plaint was heard from the Baron Alphonse de 
Rothschild, but the dramatist this time was not 
inclined to give in. He simply turned to the baron 
and said gracefully : "If ever any one accuses 
you of receiving money from women, well, then 
you may be assured that my title shall be changed. 
Until then there is no need of it." 



1 9 o papg of tfje ^regent 

When "Monsieur Alphonse" was published, 
Dumas wrote a preface which is much longer than 
the play itself, in which he discusses at great 
length and with minute elaboration the impor- 
tant social problem of which "Monsieur Alphonse" 
is the exposition. This preface, indeed, would 
stand by itself, without any regard to the play 
which it uses as a text, as a momentous contribu- 
tion to the study of one phase of the problem of 
sex relations. The play and the preface, in them- 
selves, form a part of the strenuous attack Dumas 
was constantly making upon the French laws of 
marriage and divorce, which he finally succeeded 
in altering for the better. 

"Monsieur Alphonse," in English, and bearing 
the original title, was brought out in this country 
at Augustin Daly's Fifth Avenue Theatre, in New 
York, on April 14, 1874. The version bore Mr. 
Daly's name as its adapter, and differed in some 
degree from the original, especially in bringing 
upon the stage the two peasant guardians of 
Adrienne, who are only referred to by Dumas. 
The cast was : 

M. Alphonse George Clarke. 

Montaiglin Charles Fisher. 

Jovin James Lewis. 

Remy Frank Hardenbergh. 

Raymonde Ada Dyas. 

Mme. Guichard Fanny Davenport. 

Manon Mrs. G. H. Gilbert. 

Bonette Nina Varian. 

Adrienne Bijou Heron. 



$Iapg of tfje $regent. 191 

When Mr. Daly revived "Monsieur Alphonse" 
a year later, George Parkes succeeded Mr. Clarke 
as Alphonse, D. H. Harkins played Montaiglin, 
and Ada Dyas appeared as Raymonde. In later 
years, Clara Morris included "Monsieur Alphonse" 
in her repertory, under the title of "Raymonde." 

My Partner, a play in four acts by Bartley 
Campbell, was produced at the Union Square 
Theatre in New York on September 16, 1879. 
The cast was as follows : 

Joe Saunders Louis Aldrich. 

Ned Singleton Henry Crisp. 

Wing Lee C. T. Parsloe. 

Major Henry Clay Britt Frank Mordaunt. 

Matthew Branden Harry Edwards. 

losiah Scraggs J. W. Hague. 

Sam Bowler J. H. Burnett. 

Wellington Widgery Charles Webster. 

Jim Johnson John Dailey. 

Mary Branden Maude Granger. 

Grace Branden Minnie Palmer. 

Miss Posie Pentland Alice Grey. 

"My Partner" has proved the most popular of 
Mr. Campbell's plays, for it still attracts crowds 
at the stock-company houses where it is given, and 
is likely to do so for some years to come. It 
depicts the rough-and-ready life of the West at a 
time when a California mining camp was a syn- 
onym for anything but gentleness and refinement ; 
and the fact that the drama was so intensely 
"American" accounts for a measure of its success. 



1 92 $Iapg of tfje $w£ent. 

On its first production, the actors employed were 
among the best in the country, so that even a poor 
play would have had some chance in their hands. 
Mr. Aldrich as Joe Saunders, and Mr. Parsloe as 
the Chinaman, made the conspicuous hits of that 
production, and later Mr. Aldrich starred in the 
part which he had created. 

Nathan Hale, a romantic drama in four acts by 
Clyde Fitch, was produced at Hooley's Theatre 
in Chicago on January 31, 1898, and after per- 
formances in many of the principal American 
cities, it was brought out in New York, at the 
Knickerbocker Theatre, on January 2, 1899, the 
cast being as follows : 

Nathan Hale N. C. Goodwin. 

Guy Fitzroy William Ingersoll. 

Lieutenant-Colonel Knowlton .... Thomas Oberle. 

Captain Adams Clarence Handyside. 

Cunningham Neil O'Brien. 

Ebenezer Lebanon Thurlow Bergen. 

Tom Adams Richard Sterling. 

William Hull S. M. Hall. 

The Jefferson boy Master Ralph. 

The Talbot boy Henry Lewis. 

Jasper Frank Mayne. 

Sentinel Charles Budd. 

Alice Adams Maxine Elliott. 

Mistress Knowlton Estelle Mortimer. 

Angelica Knowlton Gertrude Elliott. 

The Widow Chichester Hattie Russell. 

Mr. Fitch was daring enough to follow the 
records of history, and thereby give his play a 



$Iapg of tfje $tt$tnt. i 93 

tragic ending. It proved very popular with New- 
York theatre-goers and remained at the Knicker- 
bocker Theatre for a period of several months. 
After Mr. Goodwin was through with it, the rights 
for the smaller theatrical centres were secured by 
Mr. W. M. Wilkison, and it was performed with 
Howard Kyle and Nannette Comstock in the lead- 
ing roles. 

"Nathan Hale" was published in New York in 
1900, by R. H. Russell. 

The Notorious Mrs. Ebbsmith, a drama of 
modern life by Arthur W. Pinero, was produced 
at the Garrick Theatre, London, on March 13, 
1895. The cast: 

Duke of St. Olpherts John Hare. 

Sir Sandford Cleeve Ian Robertson. 

Lucas Cleeve Forbes Robertson. 

Rev. Amos Winterfield C. Aubrey Smith. 

Sir George Brodrick Joseph Carne. 

Dr. Kirke Fred Thorne. 

Fortune Gerald Du Maurier. 

Antonio Poppi C. F. Caravoglia. 

Agnes Mrs. Patrick Campbell. 

Gertrude Thorpe Ellis Jeffreys. 

Sybil Cleeve Eleanor Calhoun. 

Nella Mary Halsey. 

Hepzibah Mrs. Charles Groves. 

In May, Mrs. Patrick Campbell retired from 
the cast and was succeeded by Miss Olga Nether- 
sole in the title character. George Bernard Shaw 
did not like the substitution, saying that Miss 

*3 



1 94 pap£ of tlje $regcnt. 

Nethersole failed to touch the character of Agnes 
in any point. John Hare's Duke of St. Olpherts 
was, of course, universally commended, but his 
acting could not save the play from the disaster 
brought upon it by the melodramatic Bible-burn- 
ing scene and an incoherent last act. 

When John Hare made his first appearance in 
America, at Abbey's Theatre in New York, on 
December 23, 1895, "The Notorious Mrs. Ebb- 
smith" was the play, cast as follows : 

Duke of St. Olpherts John Hare. 

Sir Sandford Cleeve Eugene Mayeur. 

Lucas Cleeve Fred Terry. 

Rev. Amos Winter-held C. Aubrey Smith. 

Sir George Brodrick Charles Rock. 

Dr. Kirke Fred Thorne. 

Fortune Prince Lloyd. 

Antonio Poppi Charles Caravoglia. 

Agnes Julia Neilson. 

Gertrude Thorpe Ellis Jeffreys. 

Sybil Cleeve Mina Le Bert. 

Nella Helen Luck. 

Hepzibah Mrs. Charles Groves. 

Mrs. Patrick Campbell acted the title character 
occasionally during her tour of the United States 
in 1901-1902, but no other actress of note has 
attempted it in this country. Miss Nethersole, 
perhaps fortunately, did not add it to her Ameri- 
can repertory. In England the part has also been 
played by Miss Cynthia Brooke. 

The Octoroon, a drama in five acts by Dion 
Boucicault, was produced at the Winter Garden 
in New York on December 5, 1859, with this cast : 



papg of tfje $regent. 



*95 



Salem Scudder Joseph Jefferson. 

Sunnyside George Holland. 

George Peyton A. H. Davenport. 

Lafourche J. H. Stoddart. 

Wah-no-tee Dion Boucicault. 

Captain Ratts H. Pearson. 

Pete George Jamieson. 

Paul Ione Burke. 

Zo'e Agnes Robertson. 

Dora Sunnyside Mrs. J. H. Allen. 

Mrs. Peyton " Blake. 

"The Octoroon" showed that as a master of 
stage-craft its clever author had few equals. It 
dealt with life in the South, and with a subject 
which at that time was a most dangerous one to 
touch — slavery; and some of the actors deemed 
it unwise, if not culpable, to appear in such a piece. 
But the shrewd dramatist was wise enough not to 
take sides too strongly, and made his play as non- 
committal as possible. It created one of the 
greatest theatrical sensations of the season, and 
proved wonderfully successful. Such scenes as 
the slave sale, the burning of the steamer Magno- 
lia, the trial of the Indian for murder and the 
fight with knives, were not common in the dramas 
of that generation, and the house was crowded 
night after night. Southerners visiting the me- 
tropolis were anxious to see how life in their 
section was pictured, and could find small cause 
to complain that the dramatist had not treated 
them fairly. It is a curious insight into the views 
regarding slavery held at that time in this country 
and England to note the differing denouements 
of this drama as determined by its production, 



i 9 6 $Iap£ of tfje ^regent 

geographically. Here Zo'e, the octoroon girl, died 
in the last act; to have wedded her to George 
Peyton would have been to invite failure; in 
England the play ended happily, as the audience 
there could accept the marriage of the young 
Southerner of good birth to a slave girl as per- 
fectly proper, and see nothing unusual in such an 
ending. 

The new play reached Boston the next month, 
and on January 16, i860, was brought out at the 
Howard Athenaeum, with Dan Setchell as Salem 
Scudder, Frank Hardenbergh as Pete, E. L. Dav- 
enport as Wah-no-tee, W. J. Le Moyne as La- 
fourche, D. Hanchett as Captain Ratts, Mrs. W. 
H. Smith as Dora Sunnyside, Fanny Price as 
Jules, and Mrs. Hanchett as the negress Dido. 
The last named was the sister of William Warren, 
who lost her first husband while her daughter, 
Fanny Bayard Price, was yet a baby. She after- 
ward married Mr. Hanchett, who devoted him- 
self to making Miss Price a star. Meanwhile, 
members of the company which had been playing 
at the Bowery Theatre in New York came to the 
National Theatre in Boston and gave the play, 
with G. L. Fox as Salem Scudder, G. C. Boniface 
as Wah-no-tee, Fanny Herring as Dora, Mrs. W. 
G. Jones as Zo'e, and Marie Bates as Paul. Others 
who have since appeared from time to time in 
the play are Kate Reignolds, who acted Zo'e, Wil- 
liam Warren and John B. Mason as Salem Scudder, 



$Iap£ of tfje $re£ent. 197 

Joseph Wheelock as Jacob McCloskey, Emily 
Mestayer as Mrs. Peyton, Mrs. J. H. Stoddart as 
Dora, and James S. Maffitt, the pantomimist, as 
the Indian. It is curious to think of a part which 
E. L. Davenport, one of the greatest of American 
actors, thought worthy of his powers, coming at 
last to be acted by a pantomimist. 

The play was based on one of Mayne Reid's nov- 
els, and has held the stage much longer than most 
versions of popular stories. At the time of its first 
successful run in Boston, at the Howard Athe- 
naeum, the question arose as to whether or not 
the managers of the National Theatre had the 
right to produce it, and the play became the sub- 
ject of extended litigation. In the course of the 
proceedings, it developed that Mr. Davenport had 
paid the author a royalty of twenty dollars for 
each performance; and while some of the points 
raised were of great interest to managers, and 
it was hoped that the judges would decide them, 
the whole matter was finally decided to be a ques- 
tion of copyright, and went to the Supreme Court 
on that question alone. 

Oliver Goldsmith, a comedy in three acts by 
Augustus Thomas, was produced at the Empire 
Theatre in Albany, New York, on November 30, 
1899. After three months on the road, it reached 
New York City on March 19 of the following year, 
and was given at the Fifth Avenue Theatre, with 

13* 



i 9 8 $Iap£ of tfje $cegent. 

this cast, which contained practically the same 
players who were seen at Albany : 



Mr. Boswell Beaumont Smith. 

Mr. Featherstone Edward Dodge. 

Roger Walter Clews. 

Catherine Homeck Ellen Mortimer. 

Mrs. Featherstone Jeffreys Lewis. 

Mary Homeck Florence Rockwell. 

Edmund Burke Walter Hale. 

Dr. Samuel Johnson H. A. Weaver, Sr. 

David Garrick Henry E. Dixey. 

Captain Homeck Clifford Leigh. 

Mr. Kendrick Ogden Stevens. 

Oliver Goldsmith Stuart Robson. 

Property Man Charles Lemmert. 

Leader of Orchestra F. C. Gordon. 

Prompter Martin Sounds. 

Mr. Colman Joseph P. Winter. 

Tony Lumpkin O. E. Hallam. 

Mr. Drummond Bert Washburn. 

Little Annie Ricca Scott. 

Little Mary Monica Harris. 

Mrs. Higgins Bessie Scott. 

Mr. Twitch Henry E. Dixey. 

Mr. Flannigan James Grant. 

Biff Charles E. Long. 



Mr. Thomas's play was founded on certain in- 
cidents in the life of Goldsmith, and introduced 
characters which were familiar to all students of 
English literature. Dr. Johnson, Burke, Garrick, 
and Boswell proved no less entertaining on the 
stage than in the pages of history. The incident 
on which the poet himself founded his play of 
"She Stoops to Conquer," the mistake of taking 
a private house for a tavern, was used as the 



$lap£ of tfje $tt$mt i 99 

basis of the first act, and served to bring Gold- 
smith into the company of the people of the play 
in a natural and interesting way. The second act 
took place on the stage of Covent Garden Theatre 
during a rehearsal of "She Stoops to Conquer," 
and was a good picture of the inner workings of 
a playhouse, while the third act showed Goldsmith 
in his garret, hounded by bailiffs. Mary Horneck 
was the heroine, and Mr. Thomas departed so far 
from historical truth as to wed her to the author 
of "The Deserted Village." 

The chief merit of the piece was the accuracy 
with which the dramatist drew the historical char- 
acters whom he had chosen to work out his story, 
and as a picture of Goldsmith, his friends and his 
times, it was interesting and entertaining. The 
poet himself was sketched with a great deal of 
skill, his peculiar nature being clearly indicated. 
The dialogue was bright, many of the speeches 
having been taken from the pages of Boswell ; but 
the plot was rather indefinite, and was really a 
collection of incidents about well-known people. 
To any one read in the literature of the time of 
Dr. Johnson, the play was one of the most de- 
lightful entertainments which Mr. Thomas has 
ever offered. 

Mr. Robson was well fitted with the part of the 
kind-hearted, good-natured, blundering, absent- 
minded poet, and Mr. Weaver gave a photographic 
representation of Dr. Johnson that was marvellous, 



200 $Iapg of tfje $tt$tnt. 



the result of a faithful study of Boswell's immortal 
work. 

Olivia, a drama by William Gorman Wills, 
founded on "The Vicar of Wakefield," was pro- 
duced at the Court Theatre in London on March 
30, 1878, the cast being as follows : 

Dr. Primrose Hermann Vezin. 

Moses Norman Forbes. 

Dick Miss L. Neville. 

Bill Kate Neville. 

Mr. Burchell Frank Archer. 

Squire Thornhill William Terriss. 

Leigh Mr. Denison. 

Farmer Flamborough R. Cathcart. 

Schoolmaster Mr. Franks. 

Mrs. Primrose Mrs. Gaston Murray. 

Olivia Ellen Terry. 

Sophia Kate Aubrey. 

Polly Flamborough Miss M. Cathcart. 

Phoebe " K. Nichols. 

Sarah " Turtle. 

Gipsy Woman " Neville. 

On May 28, 1885, "Olivia" was first given 
under Mr. Irving's management, and his Dr. 
Primrose soon became one of his most famous 
impersonations. The cast was : 

Dr. Primrose Henry Irving. 

Moses Norman Forbes. 

Squire Thornhill William Terriss. 

Mr. Burchell , . Thomas N. Wenman. 

Leigh Frank Tyars. 

Farmer Flamborough Henry Howe. 

Polly Flamborough Miss Coleridge. 

Phoebe " Mills. 



$Iapg of tfje ^regent. 201 



Gipsy Woman Miss Barnett. 

Mrs. Primrose " L. Payne. 

Dick " F. Holland. 

Bill " M. Holland. 

Sophia Winifred Emery. 

Olivia Ellen Terry. 

"Olivia," however, had been seen in this coun- 
try long before Mr. Irving's revival. It was pro- 
duced at the Boston Museum, on September 9, 
1878, with William Warren as the Vicar, Annie 
Clarke as Olivia, Joseph Haworth as Burchell, 
Mr. Crisp as Thornhill, Mrs. Vincent as Mrs. 
Primrose, and Marie Wainwright as Sophia. Not 
until his third tour of America did Mr. Irving pre- 
sent "Olivia" to American audiences. This was 
in 1887-1888, with George Alexander as Thorn- 
hill, Mr. Wenman as Burchell, Mr. Haviland as 
Moses, and Winifred Emery as Sophia. 

Our American Cousin, a comedy in three acts 
by Tom Taylor, was produced at Laura Keene's 
Theatre in New York on October 18, 1858. The 
cast was : 

Asa Trenchard Joseph Jefferson. 

Lord Dundreary E. A. Sothern. 

Sir Edward Trenchard Edwin Varrey. 

Lieutenant Vernon Milnes Levick. 

Captain De Boots Mr. Clinton. 

Coyle J. G. Burnett. 

Abel Murcott C. W. Couldock. 

Binney Charles Peters. 

Buddicombe Mr. McDougal. 

Florence Trenchard Laura Keene. 



202 $fapg of tfje $tegent. 



Mrs. Mountchessington Mary Wells. 

Augusta Effie Germon. 

Georgiana Mrs. Sothern. 

Mary Meredith Sara Stevens. 

Sharp Miss Flynn. 

Skillett Mrs. Levick. 

While Laura Keene was getting up a revival of 
"A Midsummer Night's Dream," her scene-paint- 
ers and mechanics disappointed her, and she found 
that she must put on some play for a fortnight to 
fill the gap till the Shakespearian piece should be 
ready. Tom Taylor, an English dramatist, who 
was ignorant of America, its manners, customs, 
or the idiosyncrasies of its people, excepting what 
he had gathered from casual reading, had sent to 
this country a comedy, or, more strictly speaking, 
a farce with serious incidents, for which he hoped 
to find a market. When the play was offered to 
Lester Wallack and his father, the former imme- 
diately suggested that it be shown to Miss Keene, 
arguing that the title role required a great Yankee 
character actor, and that Joseph Jefferson, then a 
member of Miss Keene's company, was just the 
man for the part. That actress took the play and 
laid it aside, not seeing in it any special merit, and 
it was not till she needed something for a fort- 
night's run that she thought of the English drama- 
tist's work. 

From the first there was trouble in casting the 
new play. William Rufus Blake positively re- 
fused the part of Binney, the butler, so that was 



papg of tfje ^regent 203 

given to Charles Peters. E. A. Sothern, on finding 
that he was expected to play Lord Dundreary, a 
part of some forty lines, returned it to Miss Keene, 
saying that he could not possibly consent to under- 
take a thing of that sort. Not knowing what to do, 
and fearing that the piece was weak, the poor wo- 
man appealed to Sothern's generosity and asked 
him to accept the part as a matter of loyalty to her. 
The actor at last consented to do so if she would 
allow him to "gag" it. "Do anything you like with 
it, only play it," was the despairing answer. All 
the world knows the sequel. Dressed in a long 
coat lent by John Brougham, who had borrowed 
it from Lester Wallack after the latter had worn 
it in the character of the Debilitated Cousin in a 
version of "Bleak House," Sothern made but lit- 
tle impression the first night ; few of the critics 
mentioned him. But as the play went on, week 
after week, new lines were added, new business 
introduced for the foolish nobleman, and finally 
all New York was talking of the clever imperson- 
ation which later was to bring him a great for- 
tune and world-wide fame, although the version 
of the piece which Sothern afterward used was 
little more than a monologue of Dundrearyisms, 
and hardly recognizable as Tom Taylor's work. 
The new play proved an immense success; the 
two weeks originally allotted it were extended ; for 
one hundred and forty nights it drew crowded 
houses. Jefferson's simplicity and truthfulness as 



2o 4 $fop£ of tfje $tegenk 

Asa Trenchard were admirable, and his success 
established his position in the metropolis. Miss 
Keene afterward starred as Florence Trenchard, 
and was playing this heroine at Ford's Theatre 
when Lincoln was assassinated. One of- the hits 
of the evening was made by Couldock as the faith- 
ful but fallen attorney's clerk, while Peters was 
especially successful in the part which Blake had 
refused. 



Ours, a comedy in three acts by Thomas W. Rob- 
ertson, was produced at the Prince of Wales's 
Theatre in London on September 15, 1866. The 
cast was as follows : 

Prince Perovsky John Hare. 

Colonel Sir Alexander Shendryn . . J. W. Ray. 

Angus Macalister Squire B. Bancroft. 

Hugh Chalcot '. John Clarke. 

Captain Samprey Mr. Trafford. 

Sergeant Jones Fred Younge. 

Houghton Mr. Tindale. 

Lady Shendryn Sophie Larkin. 

Blanche Haye Louisa Moore. 

Mary Netley Marie Wilton. 

When "Ours" was brought out, Robertson was 
already known as the author of a successful com- 
edy — "Society" — that had been the talk of the town 
the previous season. It had really laid the foun- 
dation of the fortunes of the Prince of Wales's 
Theatre, which up to that time had had a check- 
ered career under various names. "Society" had 




JOHN GILBERT. 

As Col. Sir Alex. Shendryn, in Ours 



papg of tfje ^regent. 205 

brought its author an immediate order for a new 
play, and by the summer of 1866 "Ours" was com- 
pleted and read, rehearsed, and played several 
times at Liverpool. These early performances 
were of great value, as they enabled the dramatist 
to improve the end of the play, so that when it was 
submitted to the verdict of a London audience, 
there were no changes to be made in it. 

When London saw "Ours" for the first time, the 
fame of the few productions which Marie Wilton 
had already made had gone abroad, and every one 
looked forward to some new developments in the 
art of stage management. And they were not dis- 
appointed. The scenes were marvels of artistic 
work. The effect of the second act, where the 
troops leave for the Crimean war, was something 
extraordinary; the audience became wildly enthu- 
siastic, and cheered till apparently exhausted. In 
the scene in the hut, great surprise was caused by 
the realistic effect of the driving snow each time 
the door was opened. 

For one hundred and fifty nights "Ours" held 
the boards in London, and was not long in reach- 
ing this country. On December 19 of the year 
that it was produced, it was given at Wallack's 
Theatre in New York, with Lester Wallack as 
Hugh Chalcot, John Gilbert as Colonel Sir Alex- 
ander Shendryn, and Effie Germon as Mary Net- 
ley. Mr. Wallack made Hugh Chalcot so com- 
pletely his own that, as Laurence Hutton says, 




2o6 $fap£ of tlje Present 

when he died the part died with him. The comedy 
has always proved popular even when presented 
with an ordinary company, and will rank as one 
of Mr. Robertson's best works. 



A Pair of Spectacles, a comedy in three acts 
adapted by Sydney Grundy from "Les Petits 
Oiseaux" of Labiche and Delacour, was produced 
at the Garrick Theatre in London on February 22, 
1890. The cast was as follows : 

Mr. Benjamin Goldfinch John Hare. 

Uncle Gregory Charles Groves. 

Percy Rudge Harding. 

Dick Sidney Brough. 

Lorimer C. Dodsworth. 

Bartholomew F. H. Knight. 

Joyce R. Cathcart. 

Another Shoemaker John Byron. 

Mrs. Goldfinch Kate Rorke. 

Lucy Lorimer Miss B. Horlock. 

Charlotte " F. Hunter. 

The following season "A Pair of Spectacles" 
was given in this country by A. M. Palmer's com- 
pany at the Madison Square Theatre, the cast in- 
cluding J. H. Stoddart as Mr. Benjamin Goldfinch, 
E. M. Holland as Uncle Gregory, Walden Ramsey 
as Percy, Henry Woodruff as Dick, Frederic Rob- 
inson as Lorimer, Herbert Millward as Joyce, 
Maud Harrison as Mrs. Goldfinch, Nannie Crad- 
dock as Lucy Lorimer, and Anne Gregory as 
Charlotte. 



$Iapg of tfje $ve$mt. 207 

During Mr. Hare's first American tour, in the 
season of 1895-1896, "A Pair of Spectacles" was in 
his repertory, and he gave it for the first time in 
New York at Abbey's Theatre on January 6, 1896, 
the cast including, in addition to Mr. Hare and Mr. 
Groves in their original characters, Gilbert Hare 
as Dick, Charles Rock as Lorimer, W. M. Cath- 
cart as Percy, May Harvey as Mrs. Goldfinch, and 
Nellie Thorne as Lucy Lorimer. The play has 
also had several revivals by Mr. Hare in London, 
the latest being at the Criterion Theatre on Jan- 
uary 4, 1902, with Mr. Groves still as Uncle Greg- 
ory, and May Harvey as Mrs. Goldfinch. 

Partners for Life, a comedy by Henry J. Byron, 
was produced at the Globe Theatre, London, on 
October 7, 1871. Its early days were closely as- 
sociated with the stage career of the late Henry 
J. Montague, who, at the time of its production, 
had just begun the management of the Globe 
Theatre in London, and was encouraging all the 
young playwrights of the day by putting on their 
pieces at his house. Henry J. Byron and Thomas 
W. Robertson were at that period well out of the 
obscurity and struggles of their earlier efforts to 
gain a foothold on the stage, and both had found 
that their talents lay more in the direction of play- 
writing than play-acting. Mr. Byron's work was 
divided pretty evenly between the more serious 
drama, in which he was extraordinarily success- 



208 $Iap£ of tlje ^regent. 

ful with "Our Boys," and the burlesques and ex- 
travaganzas by which he was at first exclusively 
known to English theatre-goers. "Our Boys" is 
the one piece by which he is now remembered. 
"Partners for Life " attained some popularity at 
the outset of its career, but it was soon cast aside 
and used only for occasional revivals on the Brit- 
ish and the American stage. 

Mr. Montague's company comprised an excep- 
tional number of talented English players, and 
was not equaled by any dramatic organization 
then playing in Great Britain, with the possible 
exception of the company headed by Mr. and Mrs. 
Bancroft at the Prince of Wales's Theatre. "Part- 
ners for Life" was produced at the Globe Theatre 
with the characters thus allotted : 

Mr. Mervyn David Fisher. 

Muggles Henry Compton. 

Tom Gilroy Henry J. Montague. 

Sir Archibald Drelincourt E. W. Garden. 

Major Billiter Charles P. Flockton. 

Ernest C. Neville. 

Fanny Smith Carlotta Addison. 

Emily Mervyn Fanny Josephs. 

Priscilla Miss Larkin. 

Almost exactly three years later, Mr. Montague 
came to this country, and henceforth was connected 
with the American stage. He made his American 
debut on Tuesday evening, October 6, 1874, at 
Wallack's Theatre, New York, as Tom Gilroy in 
Byron's play, assisted by John Gilbert as Horace 



papg of tfje $tc$mt. 209 

Mervyn, and Harry Becket in the comedy part 
of Muggles, and for the ensuing four years was 
seen in that character throughout the United 
States. 

The other prominent members of the original 
cast were Henry Compton, a famous comedian 
whose memory is still held in honor by all English 
theatre-goers; Charles P. Flockton, a member of 
various American companies for the past dozen 
years ; David Fisher, who was an accomplished 
actor of old men parts ; and Mrs. Carlotta Addison, 
the fame of whose acting has frequently crossed 
the Atlantic. 

On April 15, 1872, "Partners for Life" was put 
on at the Boston Museum, "coincident with its 
production at Wallack's Theatre, New York," and 
following its "one hundred and thirty-one con- 
secutive representations in London," as the an- 
nouncements read. Long runs were not then the 
rule, and so "Partners for Life," after five per- 
formances, was withdrawn. Three weeks later 
it was revived at the Museum for two perform- 
ances, in connection with "A Phenomenon in a 
Smock Frock," which had also been the afterpiece 
at its first presentation in Boston. The Museum 
cast ran as follows : 



Horace Mervyn R. F. McClannin. 

Muggles William Warren. 

Tom Gilroy Charles Barron. 

Sir Archibald Drelincourt James Burrows. 

14 



2 1 o papg of tlje 3&tegent. 



Major Billiter J. Alfred Smith. 

Coppinger James Nolan. 

Ernest J. W. Blaisdell. 

Fanny Smith Annie Clarke. 

Emily Mervyn Susie Cluer. 

Priscilla Mrs. J. R. Vincent. 

Darbyshire Josie Batchelder. 

"Partners for Life" now receives occasional 
revivals by resident stock companies in various 
American cities. 



The Passing Regiment, a play in five acts 
adapted by Augustin Daly from the German of 
von Moser and von Schonthan, was produced at 
Daly's Theatre in New York on November 10, 
1 88 1, the cast being as follows : 

Telka Essoff Ada Rehan. 

Mrs. Winthrop Mrs. G. H. Gilbert. 

Mrs. Bunker Miss Sylvie. 

Linda Bunker Bijou Heron. 

Mile. Merritt Miss Vinton. 

Mr. Bunker Charles Leclercq. 

Mr. Winthrop J. W. Shannon. 

Paul Dexter John Drew. 

Surgeon Van Tassell Henry Miller. 

Colonel Van Vleek George Parkes. 

Lieutenant Thorp Suydam Henry M. Pitt. 

Hoffmeister James Lewis. 

"The Passing Regiment" was given at Daly's 
Theatre for about three months, and then was 
taken on tour by Mr. Daly. In the season of 1889- 
1890 it was performed at the Boston Museum, with 



plapg of tye $re£ent. 



211 



Emma Sheridan as Telka, John Mason as Paul 
Dexter, Henry M. Pitt as Lieutenant Thorp Suy- 
dam, and George W. Wilson as the apothecary. 

Pique, a drama in four acts by Augustin Daly, 
was produced at his Fifth Avenue Theatre in New 
York on December 14, 1875, with such emphatic 
success that it ran until the following June 24, the 
end of the season. The original cast was as fol- 
lows: 

Matthew Standish Charles Fisher. 

Arthur Standish D. H. Harkins. 

Dr. Gossett John Brougham. 

Raymond Lessing Maurice Barrymore. 

Sammy Dymple James Lewis. 

Thorsby Gill John Drew. 

Ragmoney Jim Frank Hardenbergh. 

Padder C. Rockwell. 

Little Arthur Belle Wharton. 

Mabel Renfrew Fanny Davenport. 

Lucille Emily Rigl. 

Mary Standish Jeffreys Lewis. 

Aunt Dorothy Mrs. G. H. Gilbert. 

Raitch Sydney Cowell. 

Mother Thames Miss K. Holland. 

William Davidge later superseded Mr. Rockwell 
as Padder, but the cast remained otherwise sub- 
stantially intact for the entire run. "Pique" is a 
drama of American life, the part of the head- 
strong Mabel being so excellently adapted for 
starring purposes that Fanny Davenport after- 
ward made the play a part of her repertory and 
played it in the leading theatres of this country. 



2 1 2 $Iapg of tfje ^regent. 

She gave "Pique" its first presentation in Boston 
at the Globe Theatre on August 28, 1876, and 
played the leading character there for two weeks. 
On account of her illness during the third week 
of the engagement, however, Mabel Renfrew was 
played by May Nunez and Jeffreys Lewis, the 
latter having interpreted Mary Standish in the 
original production. "Pique" was also given by 
the stock company at the Boston Museum, Annie 
Clarke appearing as Mabel Renfrew, Blanche 
Thompson as May Standish, Mrs. Vincent as 
Aunt Dorothy, Miriam O'Leary as Raitch, Charles 
Barron as Captain Standish, George W. Wilson 
as Sammy Dymple, and George R. Parks as 
Thorsby Gill. 

In recent years "Pique" has been performed oc- 
casionally by the resident stock companies at thea- 
tres throughout the country. 

Play, a drama by Thomas W. Robertson, was 
brought out at the Fifth Avenue Theatre in New 
York on August 16, 1869. Robertson was at the 
height of his popularity just at the time that Au- 
gustin Daly was climbing on to the stepping- 
stones of his managerial career. It was, there- 
fore, natural that "Play," his latest work, should 
be selected as the opening production at Mr. Daly's 
Fifth Avenue Theatre. The success of "Play" at 
the Prince of Wales's Theatre in London, where it 
was originally produced February 15, 1868, was 




D. H. HARKINS. 

As Capt. Arthur Standish, in Pique. 



$Iap£ of tfje ^regent 



2I 3 



largely due to a charming love scene played by 
Mrs. Bancroft (Marie Wilton) and H. J. Mon- 
tague. Among the principal players in the cast 
were Lydia Foote, Mrs. Leigh Murray, Squire 
B. Bancroft, and John Hare, the two last-named 
as the Chevalier Browne and Hon. Bruce Fanque- 
here making decided hits. 

Much of the humor of "Play," however, was 
too fragile for American theatre-goers, and Mr. 
Daly accordingly altered the piece before putting 
it on his stage, and cast it as follows : 

Hon. Bruce Fanquehere E. L. Davenport. 

Chevalier Browne George Clarke. 

Frank Price J. B. Polk. 

Bodmin Todder George Holland. 

Croupier H. Ryner. 

Graf von Staufenberg William Beekman. 

Hauptmann Stockstadt William Davidge. 

Amanda Mrs. Clara Jennings. 

Rosie Fanquehere Agnes Ethel. 

Mrs. Kinpeek Mrs. G. H. Gilbert. 

Flower girl Emily Lewis. 

Later on, Fanny Davenport replaced Agnes Ethel 
as Rosie Fanquehere. It will be noted from the 
above cast that Edward L. Davenport was one of 
the original members of Daly's company. He did 
not, however, remain with it long, being decid- 
edly out of his element under Mr. Daly's auto- 
cratic management. "The splendid presence and 
personal force of Davenport," says a contempo- 
rary chronicler, "were always valuable, even when 
his eloquence was held in check." 

14* 



2 1 4 $Iap£ of tf)e $reg tat 

Pocahontas, or The Gentle Savage, a bur- 
lesque by John Brougham, was produced at Wal- 
lack's Theatre in New York on December 24, 1855. 
The play was thus cast : 

Powhatan John Brougham. 

John Smith Charles M. Walcot. 

Cologog J. H. Stoddart. 

Rolff Charles Peters. 

Pootepet Mrs. Stephens. 

Weechevendah Miss Sylvester. 

Krosaskanbee " L. Thompson. 

Pocahontas Georgina Hodson. 

Of the numerous extravaganzas of American 
origin, Mr. Brougham's must be accounted one of 
the most successful. It was written in the dram- 
atist's best vein, was both funny and witty, and, 
acted by players who entered with great spirit into 
the humor of the piece, was a success from the 
start. The name-part was played by Miss Hod- 
son, whom Lester Wallack called one of the hand- 
somest women he ever saw, and who had but re- 
cently arrived in this country from the Haymarket 
Theatre in London. 

The story has been told before of the curious 
incident which happened soon after "Pocahontas" 
started on its prosperous run. Miss Hodson was 
persuaded by one of the company that fame and 
fortune lay outside of Wallack's, and one night 
she did not appear. The manager was in a pre- 
dicament; it was time to ring up the curtain, but 
how could the piece be given without the prin- 



$Iapg of tfje $te£ent. 2 1 5 

cipal character? Walcot and Brougham, who 
dressed in the same room, were appealed to, and 
in a spirit of fun they agreed to play the burlesque 
without the heroine. Lester Wallack, who was 
looking after matters in the absence of his father, 
who was ill, went before the curtain and announced 
that, as the representative of the Indian princess 
was not present, the play of "Pocahontas" with- 
out Pocahontas would be given. 

Mr. Wallack promised a charming novelty to 
those who remained; those who were not satisfied 
to stay could receive their money back at the box- 
office. The audience stayed; the result was as 
lively a frolic as was ever seen on a stage. Both 
Walcot and Brougham improvised as they came 
to the missing heroine's lines. "As my daughter 
would say if she were here," Powhatan would con- 
clude a speech, while John Smith, talking to an 
imaginary Indian girl, would answer himself, add- 
ing, "As Pocahontas might have said if she had n't 
gone away." The fun was fast and furious ; even 
the actors on the stage were in convulsions of 
laughter, and it was agreed, both before and behind 
the curtain, that the burlesque never went better. 
The next night Mary Gannon, a popular player, ap- 
peared as the gentle Indian maiden, and the per- 
formance of "Pocahontas" without Pocahontas 
passed into theatrical history as one of the most en- 
tertaining events that had ever occurred in stage- 
land. 



2 1 6 UMapg of ttje ^regent 

The Princess and the Butterfly, a comedy in 
five acts by Arthur W. Pinero, was produced at 
the St. James's Theatre in London on March 25, 
1897. The cast was : 

Sir George Lamorant, Bart George Alexander. 

Edward Oriel H. B. Irving. 

Mr. St. Roche H. V. Esmond. 

Lieutenant-Colonel Arthur Eave . . C. A. Smith. 

Hon. Charles Denstroude Ivo Dawson. 

Sir James Velleret, M.P R. Dalton. 

Mr. Adrian Mills G. Bancroft. 

Mr. Bartley Levan G. Gurney. 

Mr. Percival Ord A. Vane Tempest. 

Maxime Demailly A. Royston. 

Major-General Sir Robert Chichele, 

K.C.B H. H. Vincent. 

Count Vladislau Reviczky S. Hamilton. 

Princess Pannonia Julia Neilson. 

Mrs. Marsh Mrs. Kemmis. 

Annis Marsh Dorothy Hammond. 

Lady Ringstead Rose Leclercq. 

Lady Chichele Pattie Bell. 

Mrs. Sabiston Mrs. Cecil Raleigh. 

Mrs. St. Roche Miss C. Granville. 

Blanche Oriel Mabel Hackney. 

Mrs. Ware Julie Opp. 

Madame Yanokoff Ellen Standing. 

Mrs. Ughbrook Miss L. Repton. 

Catherine Eleanor Aickin. 

Fay Zuliani Fay Davis. 

After "The Second Mrs. Tanqueray," "The No- 
torious Mrs. Ebbsmith," and "The Benefit of the 
Doubt," with their strenuous episodes and char- 
acters, "The Princess and the Butterfly" came as 
a distinct novelty from Mr. Pinero's pen. It was 
at once widely discussed, and being secured for 
an American production by Daniel Frohman, was 



pap£ of t$e ^regent. 



217 



produced by his stock company at the Lyceum 
Theatre in New York on November 23, 1897, with 
the cast arranged as follows : 



Sir George Lamorant James K. Hackett. 

Major-General Sir Robert Chi- 

chele, K.C.B Charles Walcot. 

Edward Oriel Edward Morgan. 

Maxime Demailly William Courtleigh. 

Hon. Charles Denstroude Frank R. Mills. 

Mr. St. Roche Felix Morris. 

Lieutenant-Colonel Arthur Eave George Alison. 

Mr. Adrian Mills H. S. Taber. 

Mr. Bartley Levan Henry Muller. 

Mr. Percival Ord Seymour George. 

Faulding John Findlay. 

Fay Zuliani Mary Mannering. 

Lady Ringstead Mrs. Charles Walcot. 

Lady Chichele " Thomas Whiffen. 

Annis Marsh Katharine Florence. 

Mrs. St. Roche Norah Lamison. 

Mrs. Ware Alison Skipworth. 

Mrs. Marsh Grace Root. 

Blanche Oriel Helen Macbeth. 

Mrs. Sabiston Nina Morris. 

Catharine Evelyn Carter. 

Princess Pannonia Julie Opp. 



During the run of "The Princess and the But- 
terfly" at the Lyceum Theatre, which continued 
several months, William Courtleigh succeeded Mr. 
Hackett as Sir George Lamorant, and Elizabeth 
Tyree replaced Norah Lamison as Mrs. St. Roche. 
Later, when played by the Lyceum company in 
other American cities, William Courtleigh ap- 
peared as Edward Oriel, and Grant Stewart as 
Maxime Demailly. 



2 1 8 papg of tfjc ptegcnt. 

The Prisoner of Zenda, a romantic play in a 
prologue and four acts prepared for the stage by- 
Edward Rose from Anthony Hope's romance of 
the same name, was performed for the first time 
at the Lyceum Theatre, New York, on September 
4, 1895, by a company headed by Edward H. Soth- 
ern and under the management of Daniel Froh- 
man. The cast: 

Characters in the Prologue 

Prince Rudolf, the Red Elph- 

berg E. H. Sothern. 

Duke Wolfgang Arthur R. Lawrence. 

Gilbert, Earl of Rassendyll .... Howard Gould. 

Horace Glyn Guido Marburg. 

Jeffreys W. L. Branscombe. 

Giffen Roydon Erlynne. 

Amelia, Countess of Rassendyll. Bertha Bartlett. 

Characters in the Play 

Rudolf the Fifth ) e. H. Sothern. 

Rudolf Rassendyll ) 

Michael, Duke of Strelsau A. R. Lawrence. 

Colonel Sapt Rowland Buckstone. 

Fritz von Tarlenheim Howard Gould. 

Captain Hentzau Morton Selten. 

Detchard Daniel Jarrett. 

Bertram Bertrand Sam Sothern. 

Marshal Strakencz C. P. Flockton. 

Lorenz Teppich Henry Talbot. 

Franz Teppich, his brother W. B. Woodall. 

Lord Topham W. L. Branscombe. 

Ludwig Charles Arthur. 

Toni Roydon Erlynne. 

Josef John J. Collins. 

Princess Flavia Grace Kimball. 



$Iapg of tf)e ^regent. 2 1 9 



Antoinette de Mauban Marie D. Shotwell. 

Frau Teppich Kate Pattison-Selten. 

Countess von Strofzin Miss Dibdin. 

Countess von Riesberg " Drew. 



Mr. Sothern continued to act the dual role in 
"The Prisoner of Zenda" throughout the season 
of 1895-1896. The play proved so popular that, 
shortly after Mr. Sothern's departure from New 
York in November, it was put in rehearsal by Mr. 
Frohman with his regular stock company, and was 
revived at the Lyceum Theatre on February 10, 
1896, with James K. Hackett in the role created 
by Mr. Sothern. The other leading characters in- 
troduced Herbert Kelcey as Duke Michael, W. J. 
Le Moyne as Colonel Sapt, Stephen Grattan as 
Fritz, Charles Walcot as Marshal Strakencz, Wal- 
ter Hale as Captain Hentzau, Isabel Irving as the 
Princess Flavia, and Elita Proctor Otis as Antoi- 
nette de Mauban. The following season, with Mr. 
Hackett still heading the stock company on tour, 
Michael was played by Edward Morgan, Fritz by 
Frank R. Mills, Captain Hentzau by William 
Courtleigh, the Princess Flavia by Mary Manner- 
ing, and Antoinette de Mauban by Maude Odell. 

The first performance of "The Prisoner of 
Zenda" in England came at the St. James's Thea- 
tre, London, on January 7, 1896, under the man- 
agement of George Alexander, the cast including 
Mr. Alexander in the dual role, Herbert Waring 
as Black Michael, W. H. Vernon as Colonel Sapt, 



2 2o $Iapg of tfje $re£ent. 

Arthur Royston as Fn'te, Laurence Cautley as Cap- 
tain Hentzau, Evelyn Millard as the Princess Fla- 
via, and Lily Hanbury as Antoinette de Mauban. 

The Professor's Love Story, a comedy in four 
acts by James M. Barrie, was produced at the 
Star Theatre in New York on December 19, 1892, 
the cast being as follows : 

Professor Goodwillie E. S. Willard. 

Agnes Goodwillie Ethel Douglas. 

Effie Proctor ' Emma Rivers. 

Dr. Cosens Harry Cane. 

Dr. Yellowlees Hugh Harting. 

Sir George Gilding Louis Massen. 

Lady Gilding Maxine Elliott. 

The Dowager Lady Gilding Nannie Craddock. 

Pete F. H. Tyler. 

Henders Royce Carleton. 

Dawson Arthur Tiffany. 

Lucy White Marie Burroughs. 

At the Tremont Theatre on April 10, 1893, Bos- 
ton first saw Barrie's play, the cast being identical 
with that of the New York production. It met 
with considerable favor in this country, and for 
several seasons it shared with "The Middleman" 
the leading place in Mr. Willard's repertory. De- 
spite its defects, the play and Mr. Willard's act- 
ing seemed to please the theatre-going public im- 
mensely. Barrie had been so successful with his 
"Auld Licht Idylls," "A Window in Thrums," 
and "My Lady Nicotine" that he naturally turned 
his thoughts to an equal triumph on the stage. 



$Iap£ of tfje $regmt. 



221 



But it may fairly be said that "The Professor's 
Love Story" brought him no distinction, and that 
whatever renown it may have gained is due almost 
entirely to Mr. Willard's skill in interpreting the 
leading character. William Archer was not slow, 
despite his admiration for Mr. Barrie's genius as a 
writer of sketches, to characterize the new play as 
trivial and puerile — "a clever sentimental farce, 
amusing enough, but utterly insignificant." 

The first performance of "The Professor's Love 
Story" in England was at the Comedy Theatre, 
London, on June 25, 1894, the cast including some 
of the cleverest people Mr. Willard had brought 
with him to this country on his earlier tours. Mr. 
Willard hiirself played the Professor, Bessie Hat- 
ton appeared as Lucy White, Nannie Craddock as 
the preposterous Lady Gilding, Royce Carleton, 
F. H. Tyler, and Mrs. Harry Cane, respectively, 
as the three rustics Henders, Pete, and EfRe Proc- 
tor, Bassett Roe as Sir George Gilding, and Harry 
Cane as Dr. Cosens. 

The Profligate, a drama of modern life in four 
acts by Arthur W. Pinero, was produced at the 
Garrick Theatre, London, on April 24, 1889, with 
the following cast: 

Lord Dangars John Hare. 

Dunstan Renshaw Forbes Robertson. 

Hugh Murray Lewis Waller. 

Wilfred Brudenell Sydney Brough. 

Mr. Cheat Mr. Dodsworth. 



2 2 2 $fap£ of *f)e ^regent 



Ephgraves R. Cathcart. 

Weaver H. Knight. 

Mrs._ Stonehay Mrs. Gaston Murray. 

Leslie Brudenell Kate Rorke. 

Irene Beatrice Lamb. 

Janet Olga Nethersole. 

Priscilla Miss Caldwell. 

After a run of eighty-six consecutive perform- 
ances at the Garrick Theatre, "The Profligate" 
was taken on tour in the provinces, and was en- 
thusiastically received in Birmingham, Liverpool, 
and other cities. Its fame spread rapidly, and, 
under the title of "De Losbol," a Dutch version 
was produced in Amsterdam on November 30, 
1889, under the personal supervision of J. T. 
Grein, later of the Independent Theatre in Lon- 
don. In Germany an adaptation by Oscar Blu- 
menthal, called "Falsche Heilige" ("False Saints") 
was produced at the Stadt Theater, Hamburg, on 
February 13, 1891. It was played in many Ger- 
man cities, and was everywhere received with en- 
thusiasm. But, unfortunately, Dr. Blumenthal's 
version bore little likeness to the original, for a 
serious drama of English life was turned into a 
frivolous comecy of intrigue. This version was 
given in New York at Amberg's Theatre on Octo- 
ber 29, 1 89 1. 

"The Profligate" was produced in Australia in 
1 89 1 by Olga Nethersole, but it was not given in 
this country until the season of 1 894-1 895, when 
Marie Burroughs made it a feature of her starring 
tour, Miss Burroughs appearing as Leslie Bru- 




MAUDE ADAMS, 

As Phoelw Throssell, in Quality Street 



gtfapg of tfje $wgent. 223 

denell, John E. Kellerd as Dunstan Renshaw, and 
Louis Massen as Lord Dangars. In 1898-1899 
Olga Nethersole added it to her repertory, and it 
was then given for the first time in New York at 
the Harlem Opera House on May 22, 1898. It did 
not, however, receive its first Broadway perform- 
ance until March 17, 1900, when it was played at 
Wallack's Theatre, with Miss Nethersole as Les- 
lie Brudenell, Hamilton Revelle as Dunstan Ren- 
shaw, Fred Thorne as Lord Dangars, and John 
Glendinning as Hugh Murray. 

Quality Street, a comedy in four acts by James 
Matthew Barrie, was produced at the Valentine 
Theatre in Toledo on October 11, 190 1. It was 
written especially by Mr. Barrie for Miss Adams, 
and the original cast was as follows: 

Valentine Brown Sydney Brough. 

Ensign Blades William Lewers. 

Major Link Water R. Peyton Carter. 

Lieutenant Spicer George Irving. 

Major Bubb Frederick Spencer. 

A Recruiting Sergeant Joseph Francoeur. 

Master Arthur Wellesley Tomson . . Fred Santley. 

Miss Susan Throssell Helen Lowell. 

Miss Phoebe Throssell Maude Adams. 

Miss Willoughby Ida Waterman. 

Miss Fanny Willoughby Sarah Converse. 

Miss Henrietta Turnbull Sara Perry. 

Patty Marion Abbott. 

After a brief tour the play was taken to New 
York, and at the Knickerbocker Theatre on No- 




2 24 pap£ of t£e $te$mt. 

vember n received its first performance in that 
city. It remained there for a short period, and 
was then performed in the leading American 
cities. Neither the play nor Miss Adams's act- 
ing of the leading character attained the popu- 
larity anticipated from her success in "The Little 
Minister." 

The Queen's Favorite, a play in four acts 
adapted from the French by Sydney Grundy, was 
produced at the Olympic Theatre in London on 
June 2, 1883, with this cast: 

Henry St. John W. H. Vernon. 

Ensign Masham F. C. Bindloss. 

Marquis de Percy Hamilton Knight. 

Sir John Tyrrell Me. Paine. 

Officer A. Darrell. 

Queen Anne Gertrude Kellogg. 

Abigail Hill Lucy Buckstone. 

Lady Albemarle Janet Achurch. 

Duchess of Marlborough Genevieve Ward. 

"The Queen's Favorite" was adapted from Eu- 
gene Scribe's "Le Verre d'Eau," originally brought 
out at the Theatre Francais in 1840. Scribe's play 
has served as the basis of several English adapta- 
tions, "The Maid of Honor," produced at the 
Adelphi Theatre in London in October, 1841, and 
"The Triple Alliance," produced at the Princess's 
Theatre, London, in November, 1862, being ver- 
sions of the French piece. Mr. Grundy's adapta- 
tion was brought to this country by Miss Ward, 



$fopg of tfje $re£ent. 2 2 s 

and given its first representation here in San Fran- 
cisco on March 18, 1886. A year later Eastern 
cities saw the play, it being brought out in Boston 
at the Park Theatre on March 14, 1887. In the 
Boston production D. G. English was seen as En- 
sign Masham, Lionel Bland as the Marquis, and 
Percy Winter as the Officer, while Eleanor Tyn- 
dale played Abigail Hill. 

Quo Vadis, a drama in five acts arranged by Stan- 
islaus Stange from Henryk Sienkiewicz's romance 
of the same name, was produced at McVicker's 
Theatre in Chicago on December 11, 1899, the 
principal features of the cast being as follows : 

Vinicius Joseph Haworth. 

Petronius Arthur Forrest. 

Nero Edmund D. Lyons. 

Tigellinus William F. Clifton. 

Aulus Plautius Richard Buhler. 

Caius Hasta Marcus Ford. 

Chilo Chilonides Horace Lewis. 

Vitellius W. T. Melville. 

Regulus Frank Battin. 

Lucan Leonard Walker. 

Afer F. Boyle. 

Terpnos W. Arundel. 

Diodorus W. Marriott. 

Tiresias Robert Delmar. 

Melton William Sylvester. 

Little Aulus Master Teddy. 

Glaucus Edwin Varrey. 

Ursus Elmer Grandin. 

Poppaea Alice Fischer. 

Eunice Maude Fealy. 

Lygia Roselle Knott. 

Pomponia Margaret Fealy. 

Acte Miss C. Kanyon. 

»5 



226 $fapg of tfje $regcnt. 

The repute of Sienkiewicz's famous romance of 
the Roman days of Nero secured for Mr. Stange's 
play an immediate popularity. On April 9, 1900, 
it was given at the New York Theatre by the 
above cast for the first time in New York, and 
ran there well into the summer. On the same day 
a rival version made by Jeannette L. Gilder was 
produced at the Herald Square Theatre, but it 
failed to please the public, and ran only a few 
weeks. The cast was : 

Petronius Edward J. Morgan. 

Vinicius John Blair. 

Nero Robert Fischer. 

Tigellinus T. B. Bridgeland. 

Chilo Frank J. Currier. 

Lucan William Herbert. 

Ursus Harrison Armstrong. 

Father Linus Myron Calice. 

Croton Howard Truesdale. 

Hasta Robert L. Camp. 

Vitellius W. V. Ranous. 

Vestinius Horace Pell. 

Glaucus Williard Simpson. 

Little Aulus Little Arthur. 

Lygia Bijou Fernandez. 

Poppaea Hattie Russell. 

Eunice Grayce Scott. 

Pomponia Minnie Monk. 

Acte Engle Summer. 

Ligidia Jane Marbury. 

There was a considerable rivalry over the pro- 
duction of "Quo Vadis" in England, Mr. Stange's 
version being performed at the Adelphi Theatre 
in London on May 6, 1900, the cast including Rob- 
ert Taber as Vinicius, J. H. Barnes as Petronius, 




JOHN DREW. 

As Richard Carvel. 



papg of tfje $zt$mu 2 2 7 

G. W. Anson as Nero, Robert Pateman as Chilo, 
and Lena Ashwell as Lygia. The production, how- 
ever, did not meet with success in London, and was 
withdrawn after a career of a month at the Adel- 
phi Theatre. The same fate awaited a version 
made by Wilson Barrett, produced almost simul- 
taneously, in which Mr. Barrett appeared as Pe- 
tronius, Basil Gill as Vinicius, Ambrose Manning 
as Nero, and Maud Jeffries as Lygia. 

Richard Carvel, a drama in four acts adapted by 
Edward E. Rose from Winston Churchill's novel, 
was produced at the Empire Theatre in New York 
on September n, 1900. The cast : 

Richard Carvel John Drew. 

Lionel Carvel Herbert Carr. 

Lord Cotnyn Arthur Byron. 

Duke of Chartersea Frank Losee. 

Marmaduke Manners Harry Harwood. 

Grafton Carvel Lewis Baker. 

Dr. Courtenay Morgan Coman. 

Rev. Bennett Allen Paul McAllister. 

Captain Lewis Dodson Mitchell. 

Horace Walpole Francis Powers. 

Charles Fox Brandon Tynan. 

Captain John Paul George Le Soir. 

Lord North William Downing. 

Topham Beauclerk George Forbes. 

Goble Frank Lamb. 

Mr. Dix Robert Shable. 

Scipio John Williams. 

Dorothy Manners Ida Conquest. 

Patty Swain Olive May. 

Mrs. Manners Mrs. W. G. Jones. 

Betty Tayloe Marian Childers. 

Lady Diana Georgia Mendum. 

Lady Bunbury Charlotte Townshend. 




228 papg of tfte ^regent. 

Mr. Rose's adaptation proved rather inadequate, 
and was discarded by Mr. Drew at the close of the 
season of 1900-1901, after a tour of the leading 
theatres of the country. 

Rip Van Winkle, a play in three acts by Dion 
Boucicault, was produced at the Adelphi Theatre 
in London on September 4, 1865, with Joseph 
Jefferson in the name-part. The drama which 
Boucicault made for Mr. Jefferson was revised 
from an old play made by Charles Burke, Jeffer- 
son's half-brother, and the actor himself indicated 
to the dramatist the changes and revisions which 
were to be made. There had already been several 
successful plays based on Washington Irving's 
story. The first dramatization of which there is 
a record was entitled "Rip Van Winkle, or The 
Spirits of the Catskill Mountains," and was pro- 
duced in Albany on May 26, 1828. The principal 
parts were thus cast: 

Derrick von Slous Charles B. Parsons. 

Knickerbocker Moses S. Phillips. 

Rip Van Winkle Thomas Flynn. 

Lowenna Mrs. Flynn. 

Alice " Forbes. 

This was announced as an entirely new melo- 
drama, replete with wit and humor, taken from 
Irving's novel by "a gentleman of this city" (Al- 
bany). A rhymed prologue by "a gentleman of 
this city" preceded the piece, and its first perform- 




JOSEPH JEFFERSON, 

As Rip Van Winkle. 



$iap£ of tfje $regcnt. 229 

ance was on the occasion of the benefit of Mrs. 
Flynn, formerly Miss Twibell, the wife of Thomas 
Flynn. Flynn himself, who played Rip, was the 
intimate friend of the elder Booth, and the man 
from whom Edwin Booth derived his middle name 
of Thomas. 

The next representative of the good-natured 
vagabond was Charles B. Parsons, who played in 
a version of the story in Cincinnati in the follow- 
ing season. William Chapman, James H. Hackett, 
and Charles Burke were also among the earliest 
representatives of the character, the last named 
appearing in his own version at the Arch Street 
Theatre, Philadelphia, in 1849, supported by Jo- 
seph Jefferson as the innkeeper Seth. In later 
years, both Jefferson and Hackett used this adap- 
tation, although the first version produced by 
Hackett had been made by Bayle Bernard as early 
as 1832. 

Joseph Jefferson, in 1865, commissioned Dion 
Boucicault to revamp "Rip," and the result was 
the now familiar play of "Rip Van Winkle." This 
is essentially the form in which Jefferson now pre- 
sents the story, although changes have been made 
from time to time in accordance with Jefferson's 
well-known theories of dramatic elaboration, which 
are exemplified also in his version of "The Rivals." 
In fact, "Rip Van Winkle" as it now stands is 
more of an evolution than a creation. 

In the fall of 1866 Jefferson returned to this 

15* 




2 3 o Ptapg of tf)e ^regent. 

country, and gave "Rip Van Winkle" for the first 
time in New York on the evening of September 3 
at the Olympic Theatre, and since that day he has 
become known to the present generation of play- 
goers as the sole representative of Irving's scape- 
grace hero. His first performance of the part in 
Boston came in 1869 at the Boston Theatre, the 
supporting company including Dan Maguinnis, 
C. Leslie Allen, Mrs. J. B. Booth, and Rachel 
Noah. 

Rosedale, a play in four acts, was dramatized 
by Lester Wallack from Edward Bruce Ham- 
ley's novel, "Lady Lee's Widowhood," with sug- 
gestions from Bulwer's "What Will He Do With 
It?" It was produced at Wallack's Theatre, New 
York, on September 30, 1863, with Mr. Wallack in 
the leading part of Elliot Grey, and ran for one 
hundred and thirty nights. The cast included John 
Gilbert as Miles McKenna, George Holland as 
Banberry Kobb, Mary Gannon as Rosa Leigh, 
Mrs. Vernon as Tabitha Stork, and Mrs. John 
Hoey as Lady Florence May. "Rosedale" im- 
mediately became one of the popular dramas of 
its day, and is well known even to the younger 
generation of present-day theatre-goers. 

Mr. Wallack continued to act Elliot Grey at 
intervals for over twenty years, and the part has 
been one by which many leading actors have gained 
the public esteem. Lawrence Barrett, Barton 




LESTER WALLACK, 

As Eliot Grey, in Rosedale. 



$Iap£ of tfje tyztgmt. 231 

Hill, and L. R. Shewell were familiar representa- 
tives of that character in the sixties, and at the 
first Boston presentation of "Rosedale" by the 
famous stock company at the Boston Museum on 
February 29, 1864, William Warren appeared as 
Bunberry Kobb, Frank Hardenbergh as Miles Mc- 
Kenna, Kate Reignolds as Lady Florence May, 
Mrs. J. R. Vincent as Tabitha Stork, and Josephine 
Orton as Rosa Leigh. Later revivals at that thea- 
tre, and they were frequent, found Mr. Wallack 
himself as Elliot Grey. He was succeeded by 
Charles Barron, Eben Plympton, and John B. 
Mason in that character, and later George W. Wil- 
son appeared as Bunberry Kobb, Annie Clarke as 
Lady Florence May, C. Leslie Allen and George C. 
Boniface as Miles McKenna, and Miriam O'Leary 
as Rosa Leigh. 

Within recent years Elliot Grey has been acted 
by Joseph Haworth, Edwin Arden, Francis Car- 
lyle, A. S. Lipman, John Craig, and J. H. Gilmour. 

Rosemary, a comedy by Louis N. Parker and 
Murray Carson, was produced on May 17, 1896, at 
the Criterion Theatre in London, and ran there 
until Saturday evening, December 26. The cast 
during the long run was as follows : 

Sir Jasper Thorndyke Charles Wyndham. 

Professor Jogram J. H. Barnes. 

Captain Cruickshank, R.N Alfred Bishop. 

William Westwood Kenneth Douglas. 

George Minifie James Welch. 



232 Pap£ of tfjc $tegent 



Abraham F. H. Tyler. 

Mrs. Cruickshank Carlotta Addison. 

Mrs. MinHie Emily Vining. 

Priscilla . . . . Annie Hughes. 

Dorothy Cruickshank Mary Moore. 



John Drew brought out "Rosemary" at the Em- 
pire Theatre in New York on August 31, 1896, 
and continued there until December 26. The cast 
was as follows : 

Sir Jasper Thorndyke John Drew. 

Professor Jogram Daniel H. Harkins. 

Captain Cruickshank, R.N Harry Harwood. 

William Westwood Arthur Byron. 

George MiniHe Joseph Humphreys. 

Abraham Frank Lamb. 

Stilt Walker Charles Gibson. 

Mrs. Cruickshank Mrs. Annie Adams. 

Mrs. MiniHe " King. 

Priscilla Ethel Barrymore. 

Dorothy Cruickshank Maude Adams. 

George Bernard Shaw wrote of the London per- 
formance: "As to 'Rosemary' at the Criterion, 
there is very little to be said, for, though it is a 
very pleasant piece of story-telling, it does not 
really supply a motive for the very remarkable 
display of acting which Mr. Wyndham imposes 
on it, and to which it owes its success. . . . 
The truth is that the play has one pervading defect. 
It is engaging, humane, fanciful, well written, re- 
fined, humorous, according to a somewhat literary 
conception of humor, and full of happy reminis- 
cent touches and a pardonable Dickens worship; 



$lapg of tfje ^regent. 233 

but it is continuously silly, and in the hands of 
actors who were no better than their parts it would, 
I suspect, act very vapidly indeed." 

A Royal Family, a comedy in three acts by Rob- 
ert Marshall, was produced at the Court Theatre, 
London, on October 14, 1899, and then began a 
career of exceptional popularity. The cast was : 

Louis VII Eric Lewis. 

Prince Charles Ferdinand . . . Master Reginald Denny. 
Prince Victor Constantine . . Paul Arthur. 

The Duke of Berascon James Erskine. 

The Count Varensa George Bellamy. 

Baron Holdensen Aubrey Fitzgerald. 

General Casella E. H. Paterson. 

The Cardinal Casano Dion Boucicault. 

Father Anselm Marsh Allen. 

First A. D. C Rupert Lister. 

Second A. D. C G. Waller. 

Third A. D. C Harold Russell. 

o . • 5 Mr. Tyrel. 

Secretaries { „ Kingsley. 

Lord H. Wyndham Stapleton. C. Winter. 

Mr. Vanderdyke Q. Cobb . . . S. Conover. 

An Arcacian Patriot Alec Weatherly. 

Lord Chamberlain Mr. Turner. 

The Queen Ferdinand Mrs. Charles Calvert. 

The Queen Margaret Ada Branson. 

The Princess Alestine Victo- 

rine Angela Gertrude Elliott. 

The Countess Carini Mabel Hackney. 

The American rights having been secured by 
Charles Frohman, it was produced under his man- 
agement, with Annie Russell in the leading role, 
at the Lyceum Theatre in New York on Septem- 
ber 5, 1900, the cast being as follows : 




234 pap£ of tfje $tegent 



Louis VII Lawrence D'Orsay. 

Prince Charles Ferdinand Donald Gallaher. 

Prince Victor Constantine Charles Richman. 

The Duke of Berascon Orrin Johnson. 

The Count Varensa George Irving. 

Baron Holdensen Charles Butler. 

General Casella Harry Rose. 

The Cardinal Casano W. H. Thompson. 

Father Anselm Richard Nennett. 

First A. D. C Robert Hickman. 

Second A. D. C Allen Murname. 

Third A. D. C George Forbes. 

Lord Herbert Wyndham Stapleton. Lloyd Carlton. 

Mr. Vanderdyke Q. Cobb John G. Edwards. 

Lord Chamberlain Frank Randolph. 

The Queen Ferdinand Mrs. G. H. Gilbert. 

The Queen Margaret Ellie Wilton. 

The Countess Carini Mabel Morrison. 

The Princess Alestine Victorine 

Angela Annie Russell. 

"A Royal Family" remained at the Lyceum 
Theatre through the greater part of the season of 
1900-1901, and was then taken for a brief tour of 
the larger American cities. Changes in the cast 
involved the appearance of Orrin Johnson as 
Prince Victor Constantine, Robert Hickman as the 
Duke of Berascon, and Eleanor Sanford as Queen 
Margaret. 

Rupert of Hentzau, a drama in four acts adapted 
by Anthony Hope from his romance of the same 
name, was produced at the Chestnut Street Thea- 
tre in Philadelphia on November 21, 1898, the cast 
being as follows : 

King Rudolf V \ Tames k. Hackett. 

Rudolf Rassendyll ) 

Colonel Sapt Charles R. Pope. 




ANNIE RUSSELL, 

As t lie Princess Angela, in A Royal Family. 



$Iap£ of tf>e $tt$ent. 2 35 



Count Rupert of Hentzau Arthur Hoops. 

Fritz von Tarlenheim Brigham Royce. 

Lieutenant von Bernenstein Duncan Preston. 

The Count of Luzau-Rischenheim . . George Alison. 

Bauer E. W. Thomas. 

James Longley Taylor. 

Chancellor Sidney Price. 

Simon George W. Lynch. 

Herbert Mace Greenleaf. 

Heinrich William Eville. 

Guard M. C. Wyman. 

Chancellor's aide Edward Donnelly. 

Queen Flavia Katherine Grey. 

Helga von Tarlenheim Gertrude Rivers. 

Mother Holf Evelyn Carter. 

Rosa Holf Mabel Amber. 



Nothing short of self-esteem and financial con- 
siderations could possibly have induced Anthony- 
Hope to allow "Rupert of Hentzau" to destroy so 
effectually the strong romantic impression created 
in his favor by "The Prisoner of Zenda." It was 
a palpably artificial and labored resurrection of 
hitherto popular characters, which contained not a 
tithe of the fire and spirit that made them so life- 
like in "The Prisoner of Zenda." 

"Rupert of Hentzau" began its New York run 
at the Lyceum Theatre on April 10, 1899, but it 
did not possess sufficient vigor to last into the 
ensuing season. The changes in the cast involved 
the appearance of Theodore Roberts as Colonel 
Sapt, Robert Elliott as Bernenstein, Jobyna How- 
land as Queen Flavia, and Virginia Buchanan as 
Mother Holf. 

The London production of "Rupert of Hentzau" 
came at the St. James's Theatre on February 1, 



236 Pap£ of t&e $«gent. 

1900, when the cast included George Alexander 
as the King and Rudolf Rassendyll. During its 
career both in England and this country, Mr. 
Hope's play was subjected to a great many 
changes, but none of them was able to prolong 
its brief existence. 

Sag Harbor, a play in four acts by James A. 
Heme, was produced at the Park Theatre in Bos- 
ton on October 25, 1899, and remained there until 
January 20 of the following year. The cast was 
as follows : 

William Turner Frank Monroe. 

Ben Turner Forrest Robinson. 

Frank Turner Sydney Booth. 

Captain Dan Marble James A. Herne. 

Freeman Whitmarsh W. T. Hodge. 

George Salter C. Dibdin Pitt. 

Hosea Stevens John D. Garrick. 

Jim Adams T. H. Burke. 

Ed Mills Robert Gillig. 

Mrs. John Russell Mrs. Sol Smith. 

Elizabeth Ann Turner Marion Abbott. 

Martha Reese Julie A. Herne. 

Jane Cauldwell Chrystal Herne. 

Frances Towd Jessie Dodd. 

Miss Baily Harriet McDonald. 

Susan Murphy Gertrude Bindley. 

Mr. Heme's ability, both as playwright and 
actor, has been discussed so frequently and at such 
length that little remains to be said at the present 
moment. The final judgment upon his work can- 
not now be pronounced, but a knowledge of his 
"Margaret Fleming," "Shore Acres," "The Rev. 



$lap g of tf)e $rc£ent. 2 3 7 

Griffith Davenport," and "Sag Harbor" makes it 
evident that such judgment will some day become 
imperative. In "Sag Harbor," as in all his other 
work, Mr. Heme's strength and his weakness come 
alternately to the front. His keen sense of the 
value of reality as a potent dramatic factor in the 
making of a play is everywhere plainly seen in 
"Sag Harbor," but it is equally clear that he some- 
times mistakes melodramatic convention and stage 
artificiality for genuine elements of life. An actor 
from early youth, his perspective is naturally dis- 
torted, and the result is that he is frequently the 
most melodramatic when he intends to be the most 
actual. In "Sag Harbor," the basis of his plot — 
one woman loved by two brothers — is as old as 
the melodramatic hills, and in the treatment of 
neither incident nor character does Mr. Heme 
show any originality. But he does create original 
effects by means of his inborn dramatic sense, and 
it is these subtle effects, sometimes of atmosphere, 
sometimes of eloquent pauses in the action, some- 
times of a clever turn in the dialogue, which make 
his "Shore Acres" and "Sag Harbor" distinctive 
among the thousand other plays of the modern 
stage. 

The death of Mr. Heme, on June 2, 1901, neces- 
sitated several important changes in the cast when 
"Sag Harbor" began its third year at the beginning 
of 1901-1902, George W. Woodward appearing 
as Captain Dan Marble, Franklyn Ritchie as Ben 



238 ptap£ of t£e f&regent. 

Turner, Wallace Jackson as William Turner, John 
Dean as Frank Turner, C. B. Craig as Freeman 
Whitmarsh, Mrs. Sol Smith as Mrs. John Russell, 
Rillie Deaves as Elisabeth Ann Turner, Claire 
Kulp as Jane Cauldwell, Mollie Revel as Frances 
Towd, and Chrystal Heme as Martha Reese. 



Saratoga, a comedy in five acts by Bronson How- 
ard, was produced at the Fifth Avenue Theatre 
in New York, under the management of Augustin 
Daly, on December 21, 1870. It ran there over 
three months, and for many seasons thereafter was 
played by various companies in almost every por- 
tion of the United States. The original cast was : 

Bob Sackett James Lewis. 

Jack Benedict D. H. Harkins. 

Papa Vanderpool William Davidge. 

Hon. William Carter David N. Whiting. 

Remington pere George DeVere. 

Major Luddington Whist A. Matthison. 

Sir Mortimer Muttonleg George Parkes. 

EfHe Remington Fanny Davenport. 

Virginia Vanderpool Linda Dietz. 

Lucy Carter Clara Morris. 

Mrs. Vanderpool Mrs. Gilbert. 

Olivia Alston Fanny Morant. 

Muffins Amy Ames. 

The essential elements of the acting in "Sara- 
toga" have been characterized as "Fanny Daven- 
port's sumptuous beauty and mirthful coquetry; 
the sweet girlishness of Linda Dietz; the unex- 
pected vivacity and gaiety of Mr. Harkins, who, 



$Iapg of tf)e $zt$a\t 2 39 

after a long experience with heavies and leads, fell 
with remarkable ease into the lightsome humor 
of Jack Benedict; and Mr. Lewis's entertaining 
and painstaking endeavors to prove that he had 
left Miss Morris, when she fainted in the grove, 
'on the spot where she originally fell.' " 1 

The popularity of "Saratoga" created a demand 
for its production outside of New York, and on 
February 23, 1871, it was given in Boston by the 
famous stock company at the Globe Theatre. 
W. R. Floyd appeared as Bob Sackett, H. F. Daly 
as Jack Benedict, W. J. Le Moyne as Papa Van- 
derpool, George Clair as the Hon. William Car- 
ter, Josephine Orton as Effie Remington, Mrs. 
T. M. Hunter as Virginia Vanderpool, Lizzie Price 
as Lucy Carter, Mrs. Melinda Jones as Mrs. Van- 
derpool, and Mary Cary as Muffins. 

"Saratoga" was localized for the English stage 
by Frank A. Marshall, and, under the title of 
"Brighton," was produced, with Charles Wyndham 
as Bob Sackett, at the Court Theatre in London 
on May 25, 1874. It has since been occasionally 
revived by Mr. Wyndham, and was a feature of 
his repertory during his first tour of the United 
States in 1 883-1 884. 

The Second in Command, a comedy in four acts 
by Robert Marshall, was produced at the Haymar- 

1 Edward A. Dithmar, "Memories of Daly's 
Theatres," page 54. 



^ 



2 4 o $lap£ of tfje ^regent 



ket Theatre in London on November 27, igoo. 
The cast was as follows : 

Lieutenant-Colonel Miles An- 

struther, D.S.O Allan Aynesworth. 

Major Christopher Bingham Cyril Maude. 

Lieutenant Sir Walter Mannering. Herbert Sleath. 

Lieutenant Peter Barker G. M. Graham. 

Medenham R. G. Oughterson. 

Sergeant F. Dale. 

Hartopp G. A. Trollope. 

Corporal A. Hunt. 

Orderly H. Royle. 

Mr. Fenwick Clarence Blakiston. 

The Hon. Hildebrand Carstairs . . A. Vane Tempest. 

A General Officer Wilfred Forster. 

Muriel Mannering Sybil Carlisle. 

Lady Harburgh Fanny Coleman. 

Norah Fining Muriel Beaumont. 



Mr. Marshall's play was instantly successful, 
and ran for many months at the Haymarket Thea- 
tre. The American rights were secured by Charles 
Frohman, and it was produced for the first time in 
this country at the Empire Theatre in New York, 
on September 2, 1901. The cast: 

Lieutenant-Colonel Miles Anstruther, 

D.S.O Guy Standing. 

Major Christopher Bingham John Drew. 

Lieutenant Sir Walter Mannering . . Oswald Yorke. 

Lieutenant Peter Barker Lionel Barrymore. 

Medenham Frank Lamb. 

Hartopp Robert Schable. 

Sergeant George Harcourt. 

Corporal Percy Smith. 

Orderly Robert Mackay. 

Mr. Fenwick Lewis Baker. 

The Hon. Hildebrand Carstairs H. Hassard Short. 



$Iap£ of tfc ^regent 241 



The Duke of Hull George Forbes. 

Muriel Mannering Ida Conquest. 

Lady Harburgh Ida Vernon. 

Norah Fining Caroline Keeler. 

After a long New York run, "The Second in 
Command" was taken on the road for the remain- 
der of the season of 1901-1902. The only impor- 
tant changes in the cast were the substitution of 
Reginald Carrington for Frank Lamb as Meden- 
ham and of Louise Drew (John Drew's daughter) 
for Caroline Keeler as Norah Vining. 



The Second Mrs. Tanqueray, a drama of mod- 
ern life by Arthur W. Pinero, was produced at 
the St. James's Theatre in London, May 27, 1893, 
and was continued until the following July 28. 
Since then it has been frequently revived in Lon- 
don and the provinces. The cast was : 

Aubrey Tanqueray George Alexander. 

Sir George Orreyed A. Vane Tempest. 

Captain Hugh Ardale Ben Webster. 

Cayley Drummle Cyril Maude. 

Frank Misquith, Q.C Nutcombe Gould. 

Gordon Jayne Murray Hathorne. 

Morse Alfred Holles. 

Lady Orreyed Edith Chester. 

Mrs. Cortelyon Amy Roselle. 

Paula Mrs. Patrick Campbell. 

Ellean Maude Millett. 

With her acting of the title character in "The 
Second Mrs. Tanqueray" began Mrs. Patrick 
Campbell's fame as a leading actress. William 
16 



242 $fap£ of tf)c $tt$mt. 

Archer's comment was that "in Mrs. Patrick 
Campbell Mr. Alexander has laid his hand upon 
the very woman for the part of Paula." On Au- 
gust 31 "The Second Mrs. Tanqueray" was pro- 
duced at Leicester for the first time outside of Lon- 
don, with Mr. Kendal as Mr. Tanqueray and Mrs. 
Kendal as Paula. They brought the play to this 
country immediately upon the close of their pro- 
vincial tour, and it was played for the first time in 
America at the Star Theatre in New York, Octo- 
ber 9, 1893. The cast: 



Aubrey Tanqueray W. H. Kendal. 

Sir George Orreyed G. P. Huntley. 

Captain Hugh Ardale Oscar Adye. 

Cayley Drummle J. E. Dodson. 

Frank Misquith, Q.C James East. 

Gordon Jayne George H. Gray. 

Morse H. Deane. 

Lady Orreyed Nellie Campbell. 

Mrs. Cortelyon Mary Talbot. 

Ellean Annie Irish. 

Paula Mrs. Kendal. 



Eleanora Duse has acted Paula in an Italian ver- 
sion of "The Second Mrs. Tanqueray," both in 
Italy and in England, her first London appearance 
in that character being at the Lyceum Theatre 
on January 12, 1900. Evelyn Millard, Cynthia 
Brooke, and Olga Nethersole are among the other 
actresses who have assumed the character; the 
last named played it in this country in 1 898-1 899. 



$Iapg of tfje $tc$tnt 243 

Secret Service, a drama in four acts by William 
Gillette, was produced in its original form, under 
the title of "The Secret Service," at the Broad 
Street Theatre in Philadelphia on May 13, 1895. 
The cast : 



Captain Ralph Challoner Maurice Barrymore. 

Mr. Benton Arrelsford William Harcourt. 

Major-General Randolph H. B. Bradley. 

Wilfred Varney Edwin Arden. 

Dr. Horace Garnet R. F. McClannin. 

Henry Dumont M. L. Alsop. 

Jonas T. E. Jackson. 

Lillian Varney Mary Hampton. 

Caroline Mitford Odette Tyler. 

Mrs. General Varney Ida Vernon. 

Martha Alice Leigh. 

Eleanor Fairfax Elaine Eillson. 

Miss Kittridge Lulu Hopper. 

Miss Farrington Meta Brittain. 



The play gained no success and was immediately 
withdrawn. After radical revision by Mr. Gil- 
lette, it was produced in New York at the Garrick 
Theatre on October 5, 1896, and there began a 
career of popularity which spread throughout the 
United States and extended to Europe. The cast 
at the Garrick Theatre was as follows : 



General Nelson Randolph Joseph Brennan. 

Mrs. General Varney Ida Waterman. 

Edith Varney Amy Busby. 

Wilfred Varney Walter Thomas. 

Caroline Mitford Odette Tyler. 

Lewis Dumont William Gillette. 



244 papjf of tfje $tegent. 



Henry Dumont M. L. Alsop. 

Mr. Benton Arrelsford Campbell Gollan. 

Miss Kittridge Meta Brittain. 

Lieutenant Maxwell Francis Neilson. 

Martha Alice Leigh. 

Jonas H. D. James. 

Lieutenant Foray William B. Smith. 

Lieutenant Allison Louis Duval. 

Sergeant Wilson I. N. Drew. 

Sergeant Ellington Henry Wilton. 

Corporal Matson H. A. Morey. 

The run at the Garrick Theatre continued until 
March 6, 1897, when the entire company was 
transferred to the Boston Museum, there being no 
changes in the cast at the opening of the engage- 
ment. On March 30 Amy Busby was replaced 
by Blanche Walsh, and later Henry Woodruff 
succeeded Walter Thomas as Wilfred Varney. 
Immediately upon the close of the Boston engage- 
ment Mr. Gillette and his company sailed for Lon- 
don, and at the Adelphi Theatre on May 15 "Se- 
cret Service" began a run which lasted, including 
a transfer to the Comedy Theatre, until August 4. 
Upon the departure of the American company 
from London, an English company began to pre- 
sent Mr. Gillette's play at the Adelphi on August 
5, William Terriss appearing as Lewis Dumont, 
Harry Nicholls as General Randolph, and Jessie 
Millward as Edith Varney, continuing until Sep- 
tember 4. It was revived by the same company 
on November 24; and on December 16, following 
the assassination of Mr. Terriss at the stage door 
of the Adelphi Theatre, it was temporarily with- 




WILLIAM H. CRANE, 

As Senator Hannibal Rivers, in The Senator. 



$Iap£ of rtje $re£ent 2 45 

drawn. On the afternoon of December 27 it was 
revived at the same house, with Herbert Waring 
and May Whitty in the leading parts, and ran there 
till January 20, 1898. It was afterward given in 
the English provincial theatres by a company which 
included Charles Weir as Lewis Dumont and May 
Whitty as Edith Varney. On September I the 
second New York run of "Secret Service" began 
at the Empire Theatre. 

A French version of Mr. Gillette's play, made 
by Pierre Decourcelle, was produced at the Re- 
naissance Theatre in Paris on October 2, 1897. 

The Senator, a comedy in four acts by David D. 
Lloyd and Sydney Rosenfeld, was the first play 
used by William H. Crane after the dissolution of 
his famous partnership with Stuart Robson. It 
was produced by him at the Chicago Opera House 
on September 16, 1889, and on the 20th of January, 
1890, it began a run at the Star Theatre in New 
York. The cast was as follows : 

Senator Hannibal Rivers .... William H. Crane. 

Alexander Armstrong George F. De Vere. 

Count Ernest von Strahl .... Henry Bergman. 

Baron Ling Ching Harry Braham. 

Richard Vance James Neill. 

Lieutenant George Schuyler, 

U.S.A T. D. Frawley. 

Isaiah Sharpless William Herbert. 

Silas Denman J. C. Padgett. 

Erastus J. J. Gilmartin. 

Mabel Denman Lizzie Hudson Collier. 

Mrs. Schuyler Mrs. Augusta Foster. 

16* 



24 6 pap£ of t^e ^regent 



Mrs. Armstrong Jennie Karsner. 

Josie Armstrong Jane Stuart. 

Mrs. Hillary Georgie Drew Barrymore. 



"The Senator" became so popular that it was the 
feature of Mr. Crane's repertory for three succes- 
sive seasons. During that period there were a few 
changes in the cast, the most important involving 
the appearance of Hattie Russell as Mrs. Hillary, 
Gladys Wallis as Josie Armstrong, Anne O'Neill 
as Mabel Denman, and George W. Leslie as Rich- 
ard Vance. After Mr. Crane had laid "The Sena- 
tor" on the shelf, Louis Aldrich played the title 
role in 1 893-1 894, supported by Sheridan Block as 
Count Ernest von Strahl, Harry Braham as Baron 
Ling Ching, Emma Field as Mabel Denman, 
Dickie Delaro as Mrs. Schuyler, Kathryn Oster- 
man as Mrs. Armstrong, Hattie Russell as Mrs. 
Hillary, and Millie James as Josie Armstrong. 

Seven-Twenty-Eight, a comedy in four acts 
adapted by Augustin Daly from the German of 
von Schonthan, was produced at Daly's Theatre 
in New York on February 24, 1883. The cast : 



Courtney Corliss John Drew. 

Launcelot Bargiss James Lewis. 

Signor Tamburini William Gilbert. 

Marcus Brutus Snap Charles Leclercq. 

Mrs. Hypatia Bargiss Mrs. G. H. Gilbert. 

Dora Hollyhock Virginia Dreher. 

Betsy May Fielding. 

Flos Ada Rehan. 




JAMES LEWIS. 

As La u nee lot. 



and 



In 728. 



MRS. GILBERT, 

As Hypatia, 



papg of tfje $rcgent. 2 47 

"Seven-Twenty-Eight" remained in the repertory 
of Daly's company for ten seasons or more. In 
revivals after Mr. Drew ceased to be leading man, 
Corliss was played by Francis Carlyle, Tamburini 
by Frederic Bond and Henry E. Dixey, and for 
the season when Mr. Daly's company was divided 
Percy Haswell replaced Miss Rehan as Flos. 

The Shaughraun, a drama in four acts by 
Dion Boucicault, was produced at Wallack's Thea- 
tre in New York on November 14, 1874, with Mr. 
Boucicault as Conn and Agnes Robertson as 
Moya. Possessing many of the essential character- 
istics which had made his Irish dramas popular, 
"The Shaughraun" naturally gained immediate 
success, and for many years Mr. Boucicault and 
his Conn the Shaughraun were the reigning sensa- 
tions of each successive theatrical season. On Sep- 
tember 11, 1875, at the Drury Lane Theatre in 
London, "The Shaughraun" had its first perform- 
ance in Great Britain, the characters being thus dis- 
tributed : 



Conn Dion Boucicault. 

Harvey Duff Shiel Barry. 

Captain Molyneux William Terriss. 

Robert Ffolliott J. B. Howard. 

Father Dolan David Fisher. 

Kinchela Henry Sinclair. 

Claire Ffolliott Rose Leclercq. 

Arte O'Neale Marie Dalton. 

Mrs. O'Kelly Mrs. Everard. 

Moya Agnes Robertson. 



24 8 papg of «>e ^rcisfent. 

At this performance it was intended that Rose 
Cullen should play Moya, but at twenty-four hours' 
notice Miss Robertson (Mrs. Boucicault) took the 
part which she had created in this country. 

Of the play and of the performance Joseph 
Knight, one of the most distinguished London 
dramatic critics, wrote: "In 'Arrah-na-Pogue' a 
pretty story of affection was interwoven with the 
intrigue of rebellion, thoroughly idyllic scenes of 
love-making were successfully introduced, and the 
whole production soared into the regions of art. 
Contented with this success, Mr. Boucicault has 
relaxed his efforts, and 'The Shaughraun' is sim- 
ply 'Arrah-na-Pogue' turned inside out. Robert 
Ffolliott is Beamish M'Coul, Harvey Duff the trai- 
tor is Michael Feeny, Moya Dolan is an undevel- 
oped Arrah Meelish, and Conn O'Kelly is Shaun 
the Post minus his official dignity. To the minor 
characters the similarity extends, and the jokes, the 
pictures exhibited, the scene of the action, and the 
character of the incidents all share in the resem- 
blance. . . . On the whole, the garment Mr. 
Boucicault has turned is good enough for ordinary 
wear. It will serve the purpose of filling Drury 
Lane Theatre and the pockets of author and man- 
ager." 

For many years the character of Conn was Mr. 
Boucicault's own, but the time came when other 
actors took up the part, among them being George 
W. Wilson of the Boston Museum stock company 




DION BOUCICAULT, 

As Conn, in The Shaughraun. 



$Iap£ of tfje $regent 249 

and, after Boucicault's death, his son Aubrey. 
Among the well-known representatives of Father 
Dolan have been William Warren, C. Leslie Allen, 
Alfred Hudson, and George C. Boniface; Harvey 
Duff has been acted by D. J. Maguinnis, Gus Le- 
vick, George W. Wilson, and Charies S. Abbe; 
Robert Ffolliott by George H. Curtis, Edwin Ar- 
den, and George R. Parks; Moya by Mrs. T. M. 
Hunter, Sadie Martinot, and Miriam O'Leary; 
Claire Ffolliott by Rose Coghlan and Louise 
Thorndyke; and Captain Molyneux by Maurice 
Barrymore, the last named being featured in the 
character in the early days of "The Shaughraun's" 
history. 

Shenandoah, a drama in four acts by Bronson 
Howard, was produced at the Boston Museum on 
November 19, 1888, the cast being as follows : 

Colonel John Haverill Thomas L. Coleman. 

Lieutenant Kerchival West John B. Mason. 

Captain Heartsease Henry M. Pitt. 

Frank Haverill Edgar L. Davenport. 

Major-General Irenaeus Buck- 
thorn C. Leslie Allen. 

Sergeant Barket George W. Wilson. 

Colonel Robert Ellingham Charles J. Bell. 

Captain Thornton Willis Granger. 

Corporal Dunn James Nolan. 

Lieutenant Hardwick George Blake. 

Captain Lockwood Herbert Potter. 

Benson Charles S. Abbe. 

Wilkins Henry MacDonna. 

Mrs. Haverill Annie M. Clarke. 

Gertrude Ellingham Viola Allen. 

Madeline West Helen Dayne. 




2 5° $fop£ of t&e $re£ent 



Jenny Buckthorn Miriam O'Leary. 

Mrs. Edith Haverill Grace Atwell. 

Old Margery Kate Ryan. 

Janette Miss Harding. 



The run of "Shenandoah" at the Museum lasted 
six weeks, during which period it achieved no great 
amount of popularity. Its success came later, 
when, after being rewritten by Mr. Howard, it was 
brought out at the Star Theatre in New York on 
September 13, 1889, the cast being as follows : 

General Haverill Wilton Lackaye. 

Colonel Kerchival West Henry Miller. 

Captain Heartsease Morton Selten. 

Frank Haverill {Lieutenant Frank 

Bedloe) G. W. Bailey. 

Major-General Irenaeus Buckthorn. Harry Harwood. 

Sergeant Barket James O. Barrows. 

Colonel Robert Ellingham Lucius Henderson. 

Captain Thornton John E. Kellerd. 

Corporal Dunn W. J. Cummings. 

Mrs. Constance Haverill Dorothy Dorr. 

Gertrude Ellingham Viola Allen. 

Madeline West Nanette Comstock. 

Jenny Buckthorn Effie Shannon. 

Mrs. Edith Haverill Alice B. Haines. 



Later in the season "Shenandoah" was trans- 
ferred to Proctor's Theatre, where it ran until 
April 19, 1890, the final performance being made 
a gala occasion upon which the leading characters 
in the play were acted during its representation by 
various actors. Wilton Lackaye, Frank Burbeck, 
and George Osborne appeared as General Haverill; 
Lucius Henderson and Frank Dayton as Colonel 




H J. MONTAGUE, 

As Captain Molmeux, in the Shaughraun. 



$fapg of tfje $regcnt. 2 5 1 

Robert Ellingham; Morton Selten and R. A. Rob- 
erts as Captain Heartsease; Odette Tyler and Lilla 
Vane as Gertrude Ellingham; Alice Haines and 
Nanette Comstock as Jenny Buckthorn; and Mrs. 
Mary Breyer and Mrs. C. A. Haslam as Old Mar- 
gery. The following season "Shenandoah" was 
given on the road by practically the same company, 
and since then it has had frequent revivals. 



Sherlock Holmes, a drama in four acts founded 
by William Gillette on certain episodes in the popu- 
lar detective stories by Dr. A. Conan Doyle, was 
produced, under the management of Charles Froh- 
man, at the Star Theatre in Buffalo on October 
24, 1899, and at the Garrick Theatre in New York 
on November 6 following, the cast being as fol- 
lows: 

Sherlock Holmes William Gillette. 

Dr. Watson Bruce McRae. 

John Forman Reuben Fax. 

Sir Edward Leighton Harold Heaton. 

Count Von Stahlburg Alfred S. Howard. 

Professor Moriarty George Wessels. 

James Larrabee Ralph Delmore. 

Sidney Prince George Honey. 

Alfred. Bassick Henry Herrman. 

Jim Craigin Thomas McGrath. 

Thomas Leary Elwyn Eaton. 

"Lightfoot" McTague Julius Weyms. 

John Henry S. Chandler. 

Parsons Soldene Powell. 

Billy Henry McArdle. 

Alice Faulkner Katherine Florence. 

Mrs. Faulkner Jane Thomas. 



2 S 2 papg of tip ^regent. 

Madge Larrabee Judith Berolde. 

Therese Hilda Englund. 

Mrs. Smeedley Kate Ten Eyck. 

The New York engagement continued through- 
out the season, and the following year of 1900- 
1901 was spent by Mr. Gillette and his company 
in a tour of the United States which included all 
the principal Eastern and Western cities. The play 
itself was a melodrama of the average type, and 
was saved from commonplaceness by Mr. Gillette's 
skill as a playwright and actor. On September 
9, 1 901, it began a long run at the Lyceum Thea- 
tre in London, with Mr. Gillette in the title role, 
Percy Lyndal as Doctor Watson, Sydney Herbert 
as John Forman, W. L. Abingdon as Professor 
Moriarty, Ralph Delmore as James Larrabee, 
Maude Fealy as Alice Faulkner, Ethel Lorrimore 
as Mrs. Faulkner, and Charlotte Granville as 
Madge Larrabee. 

The Sign of the Cross, a drama in five acts by 
Wilson Barrett, was produced at the Grand Opera 
House in St. Louis on March 28, 1895, with Mr. 
Barrett in the leading role of Marcus Superbus, 
Maud Jeffries as Mercia, Maud Hoffman as Bere- 
nis, and Miss Brady as Poppaea. It was not given 
by Mr. Barrett in New York or in any of the 
Eastern American cities, but on his return to Lon- 
don, after a tour of the English provinces, he pre- 
sented it at the Lyric Theatre on January 4, 1896. 




WILLIAM GILLETTE. 

A* Sherlock Holines. 



pap£ of tfje ^regent. 2 53 

The cast then included Mr. Barrett in his original 
role, Franklin McLeay as Nero, Charles Hudson 
as Tigellinus, Ambrose Manning as Glabrio, Maud 
Jeffries as Mercia, Maud Hoffman as Berenis, 
Daisy Belmore as Dacia, Grace Warner as Pop- 
paea, and Haidee Wright as Stephanus. Since 
then "The Sign of the Cross" has been performed 
by Mr. Barrett's company and by numerous sec- 
ondary troupes throughout Great Britain. 

The first performance of Mr. Barrett's play in 
New York came at the Knickerbocker Theatre on 
November 9, 1896, and the tour then begun has 
been followed during each successive season by a 
series of performances which have attested the 
popularity of "The Sign of the Cross" in this coun- 
try. It has been acted here invariably by an Eng- 
lish company, on its first engagement Charles Dal- 
ton appearing as Marcus Superbus, W. A. Elliott 
as Nero, G. R. Peach as Tigellinus, Hubert Druce 
as Glabrio, Lillah McCarthy as Mercia, Alida Cor- 
tellyou as Berenis, Lotta Linthicum as Dacia, Bar- 
bara Huntley as Poppaea, and Gertrude Boswell 
as Stephanus. During the later tours, Irene Rooke 
and Lillie Thurlow appeared as Mercia, W. E. 
Bonney as Nero, Ettie Williams and Agnes Scott 
as Berenis, Marjorie Cavania as Dacia, Marion 
Grey as Poppaea, and Maud Warrilow as Ste- 
phanus. 

The dialogue of "The Sign of the Cross" was a 
curiosity, being a composite of all periods of Eng- 



254 papg of tfje $tegent 

lish diction, from the Elizabethan through the 
classic English of the King James Bible, to the 
latest contemporary idiom. The dramatist, seem- 
ingly unable to command the dignity and sonority 
of blank verse, did the next best thing by attempt- 
ing to write his dialogue in archaisms. His comedy 
scenes were trivial and annoying, breaking the co- 
herence of the narrative and adding nothing what- 
ever to the color or the vigor of the performance. 
The popularity of the play came through its ap- 
peal to the religious sensibilities of both the theatre- 
going and the non-theatre-going public. 



The Silver King, a melodrama in five acts by 
Henry Arthur Jones and Henry Herman, was pro- 
duced at the Princess's Theatre in London on No- 
vember 16, 1882. The leading characters were 
thus cast: 

Wilfrid Denver Wilson Barrett. 

Nellie Denver Miss Eastlake. 

Cissy " M. Clitherow. 

Ned " C. Burton. 

Daniel Jaikes George Barrett. 

Frank Selwyn Neville Doone. 

Geoffrey Ware Brian Darley. 

Samuel Baxter W. Speakman. 

Captain Herbert Skinner E. S. Willard. 

Henry Corkett Charles Coote. 

Eliah Coombe Clifford Cooper. 

Cripps Frank Huntley. 

Olive Skinner Dora Vivian. 

Tabitha Durden Mrs. Huntley. 



papgoft&eftesfent 2 5S 

"The Silver King" has probably proved the most 
successful melodrama of this generation. Written 
in a style far above the average sensational play, 
even as severe a critic as Matthew Arnold declared 
it to be literature. Special preparations were made 
for its production at the Princess's. The piece was 
well constructed, and, with its strong dramatic 
story, proved even more interesting than the pre- 
vious melodramas which Wilson Barrett had 
brought out at that house. 

In a great measure the success of "The Silver 
King" was due to Mr. Barrett himself in the title 
role. Nothing that he had then done could com- 
pare with his personation of Wilfrid Denver. One 
critic declared that the performance was the per- 
fection of natural acting combined with intellectu- 
ality, and that the player rose to a height of tragic 
power and genius not unworthy of the greatest 
actor of the century. The Daniel Jaikes of George 
Barrett also came in for high praise, the pathos 
and humor of the part being blended with rare 
skill. 

As for E. S. Willard, his Captain Skinner was a 
revelation, and proved a new type, an aristocratic 
leader of a gang of burglars who committed his 
crimes in faultless evening dress. In spite of the 
fact that there were thirty-four speaking parts, 
Mr. Barrett succeeded in filling them with capable 
players.' 



256 $Iap£ of tJ>c ^regent. 

The melodrama was given in this country the 
season after its production in London, and proved 
a popular success wherever presented. But it was 
nearly seven years after Mr. Barrett and his bro- 
ther George created the parts of Denver and Jaikes 
before American playgoers had an opportunity to 
see them in these characters, and the excellence of 
the performance justified the favorable estimation 
it had received from the English critics. 

Sophia, a comedy adapted by Robert Buchanan 
from "Tom Jones," was produced at the Vaudeville 
Theatre, London, on April 12, 1886. Mr. Bu- 
chanan set himself a hard task when he undertook 
to adapt Henry Fielding's novel to the contem- 
porary stage. Here was a work which presented 
with wonderful minuteness the manners and cus- 
toms of a bygone age, with a variety of incident 
and a wealth of character which made it one of the 
great books of the eighteenth century. And it was 
largely the correct portraiture of his time that 
made the adaptation of Fielding's story a difficult 
task. A book so full of coarseness that even Paris 
at first prohibited it must necessarily undergo an 
immense amount of change before being made pre- 
sentable to modern playgoers, and Buchanan ap- 
preciated this thoroughly, saying in his prologue : 

Modes of speech have now grown nicer, 
Folks, if not purer, are at least preciser. 



papg of tf>e $re£ent» 257 

So he frankly admitted that he took leave to purify 
the character of his hero somewhat; and as the 
other characters were also "purified," he produced 
a four-act play which Fielding would have found 
it hard to recognize as having been adapted from 
his immortal work. 

The comedy was successful on its first presenta- 
tion, and ran for more than a year. Charles Glen- 
ney as Tom Jones, Royce Carleton as Blffil, Fred 
Thorne as Squire Western, Fuller Mellish as 
George Seagrim, and Thomas Thorne as Partridge 
were all in the original cast, while Kate Rorke 
made a charming and sympathetic Sophia, and 
Helen Forsyth gave a clever portrayal of the rus- 
tic Molly Seagrim. 

A play so successful was not long in coming to 
this country, and on November 4, 1886, it was 
given its first American performance at Wallack's 
Theatre, New York, with Kyrle Bellew as the hero 
and Annie Robe as the heroine. On the 17th of 
October, 1887, Boston first saw it at the Museum, 
where it ran for several weeks. In this produc- 
tion William Seymour played Squire Western; 
Edgar L. Davenport, Blifil; Charles Barron, Tom 
Jones; and George W. Wilson, Partridge. Of the 
ladies, Isabel Evesson was the Sophia, May Daven- 
port the Molly Seagrim, and Annie Clarke the 
Lady Bellaston. All of those mentioned were dis- 
tinctly successful, but Mr. Seymour's own person- 
ality was so completely sunk in Squire Western, 

17 



258 papg of t|)e $te£ent 

whom he made as bluff and hearty as he is pic- 
tured in the novel, that his impersonation was one 
of the most artistic the piece afforded. 

The Squire, a comedy in three acts by Arthur W. 
Pinero, was produced at the St. James's Theatre, 
London, on December 29, 1881. "The Squire" 
created a great amount of discussion subsequent 
to its production, not only on account of its merits 
as a play, but because of the supposed similarity 
of its plot to that of Thomas Hardy's novel "Far 
from the Madding Crowd." But the likeness 
between the novel and play is very slight. It is 
true that in both there is a woman who runs a farm, 
is loved by a servant and won by a soldier, and 
that the scene takes place in a quiet rural English 
district. But Thorndyke in the play bears no re- 
semblance to Sergeant Troy, Gilbert Hythe is by no 
means Gabriel Oak, and between no other two 
characters is there anything akin. Perhaps Mr. 
Pinero may have received a slight suggestion from 
Hardy's novel, but if he did it would only show 
his good sense in going to an excellent fount of 
inspiration. 

There was, moreover, a stage version of "Far 
from the Madding Crowd," made by the novelist 
and J. Comyns Carr, brought out under that title 
at the Prince of Wales's Theatre in Liverpool on 
February 27, 1882. Miss Marion Terry acted the 
character of Bathsheba Everdene, and Charles 



papg of t&e $re£ent. 259 

Cartwright that of Sergeant Troy. When the 
play was brought to London and performed at 
the Globe Theatre on the following 29th of April, 
Mrs. Bernard Beere appeared as Bathsheba, J. H. 
Barnes as Troy, and Charles Kelly as Gabriel Oak. 
This dramatic version of Hardy's novel was di- 
vided into three acts. 

The cast of the original performance of "The 
Squire" at the St. James's Theatre was as follows : 

The Rev. Paul Dormer John Hare. 

Lieutenant Thorndyke W. H. Kendal. 

Gilbert Hythe T. N. Wenman. 

Gunnion Mr. Mackintosh. 

Izod Haggerston T. W. Robertson. 

Fell Mr. Martin. 

Robjohns, Jr " Brandon. 

The Representative of the Pagley 

Mercury C. Steyne. 

Kate Verity Mrs. Kendal. 

Christiana Haggerston Ada Murray. 

Felicity Gunnion Miss Brereton. 

When "The Squire" was brought out in this 
country at Daly's Theatre, New York, on Octo- 
ber 10, 1882, John Drew, Charles Fisher, James 
Lewis, and Ada Rehan appeared in the leading 
roles. A year later it ran for three months in New 
York, and then was taken on tour, Agnes Booth 
giving a fine womanly portrayal of Kate Verity, 
Charles Fisher appearing as Rev. Paul Dormer, 
Henry Miller as Thorndyke, Sydney Cowell as 
Christie, Hattie Russell as Felicity, Fulton Rus- 
sell as Gilbert Hythe, and E. P. Wilks and Mr. 
Beekman respectively as Gunnion and Robjohns. 



260 $Iap£ of rtje $tegcnt. 

On their first visit to America, Mr. and Mrs. 
Kendal did not present "The Squire," but when 
they came here the next season — 1890-1891 — they 
gave Mr. Pinero's play, with themselves in their 
original roles, J. E. Dodson as Gunnion, J. H. 
Barnes as Hythe, Mr. Denison as Rev. Paul Dor- 
mer, Sydney Cowell as Christie, and Miss Camp- 
bell as Felicity. 

Still Waters Run Deep, a comedy by Tom Tay- 
lor, was produced at the Olympic Theatre in Lon- 
don on May 14, 1855, with the following cast of 
characters : 

John Mildmay Alfred Wigan. 

Captain Hawksley George Vining. 

Mr. Potter Samuel A. Emery. 

Dunbilk Mr. Danvers. 

Langford " Gladstone. 

Mark ham J. H. White. 

Gimlet H. Cooper. 

Jessop Mr. Franks. 

Servant " Moore. 

Mrs. Mildmay Miss Maskell. 

Mrs. Hector Sternhold Mrs. Melfort. 

Mrs. Sternhold was played by Mrs. Melfort the 
first few nights; she was then succeeded by Mrs. 
Alfred Wigan. The origin of "Still Waters Run 
Deep" lies in a French novel, "Le Gendre," by 
Charles de Bernard, but the debt owed that author 
by the English dramatist is confined exclusively 
to the meagre story about which has been woven 
a web of passion and intrigue. Both the writing, 



papg of tfje $tt$mt 2 6 1 

which is fluent and natural, and the dramatic con- 
struction, which wanders through a clever maze 
of incident to a rather lame and impotent conclu- 
sion, are Tom Taylor's own. 

The immediate popularity of the play upon the 
London stage aroused a tremendous interest on 
this side of the Atlantic. So keen was the com- 
petition that it was brought out in New York at 
two theatres at an interval of only two days. The 
race was won by Barnum's Museum, at which 
house it was produced on September 10, 1855, with 
the following cast : 

John Mildmay C. W. Clarke. 

Captain Hawksley E. F. Taylor. 

Mr. Potter Mr. Bridgman. 

Dunbilk George Lingard. 

Longford Mr. Marlowe. 

Markham George Clarke. 

Gimlet Mr. Cunningham. 

Jessop " Forbes. 

Mrs. Mildmay .'. Miss Mestayer. 

Mrs. Hector Sternhold Mrs. France. 

Two days later the production at Burton's Thea- 
tre was presented to the expectant New York pub- 
lic by the following cast : 

John Mildmay William E. Burton. 

Captain Hawksley George Jordan. 

Mr. Potter Mr. Bradley. 

Dunbilk Harry Jordan. 

Langford Mr. Fredericks. 

Markham " Gardner. 

Gimlet " Lawson. 

Jessop " Gourlay. 

Mrs. Mildmay Miss Raymond. 

Mrs. Hector Sternhold Mrs. Hughes. 

17* 



262 $Jap£ of tfje $«gent. 

The fame of "Still Waters Run Deep" spread 
so rapidly that within a year it had been presented 
in all the leading cities of the United States. Bos- 
ton playgoers first saw it at the Howard Athenaeum 
on September 28, 1855, with J. S. Browne as John 
Mildmay, J. M. Field as Captain Hawksley, E. B. 
Williams as Mr. Potter, W. L. Ayling as Dunbilk, 
Mrs. J. M. Field as Mrs. Mildmay, and Mrs. W. H. 
Smith as Mrs. Stemhold. Less than two weeks 
later, on October 10, the play was staged at the 
Boston Museum, with William Warren as John 
Mildmay, E. F. Keach as Captain Hawksley, Mr. 
Joyce as Mr. Potter, Mr. Whitman as Dunbilk, 
Harry Bascomb as Langford, Mrs. Skerrett as 
Mrs. Mildmay, and Mrs. J. R. Vincent as Mrs. 
Stemhold. On the 17th of December the Boston 
Theatre company, with John Gilbert as Mildmay, 
Mr. Belton as Hawksley, W. H. Curtis as Potter, 
"Nick" Davenport as Dunbilk, Julia Bennett Bar- 
row as Mrs. Mildmay, and Mrs. H. Kirby as Mrs. 
Stemhold, presented "Still Waters Run Deep." 
Troy, Philadelphia, Cincinnati, St. Louis, Charles- 
ton, Providence, and other theatrical centres seized 
upon Tom Taylor's work as soon as they could get 
hold of it. On January 9, 1856, it was given for 
the first time at Wallack's Theatre, with Charles 
Walcot as Mildmay, John Brougham as Hawksley, 
Mrs. Hoey as Mrs. Stemhold, and Miss E. Ray- 
mond, who had come from Burton's, as Mrs. Mild- 
may. On the 16th of January, Laura Keene ap- 



$Iapg of tlje $tt$mt 263 

peared at her own theatre as Mrs. Mildmay, with 
Kate Reignolds as Mrs. Sternhold, John Dyott as 
Mildmay, and George Jordan as Hawksley. A 
favorite cast of Tom Taylor's play in this country 
was that in which J. W. Wallack was seen as John 
Mildmay, E. L. Davenport as Captain Hawksley, 
Mrs. J. W. Wallack, Jr., as Mrs. Sternhold, and 
Mrs. E. L. Davenport as Mrs. Mildmay. 

At the Royal Princess's Theatre, in Oxford 
Street, London, a performance of "Still Waters 
Run Deep" was given on September 17, 1863, 
under the management of Walter Montgomery, 
who played Mildmay. The rest of the cast was : 

Hawksley E. F. Edgar. 

Potter Mr. Fitzjames. 

Dunbilk " Meagreson. 

Gimlet " Moreland. 

Langford " Clifton. 

Markham G. Dawson. 

Mrs. Sternhold Miss Atkinson. 

Mrs. Mildmay Kate Saville. 

A performance at the Queen's Theatre, London, 
in May, 1867, is notable for the fact that Ellen 
Terry played Mrs. Mildmay, with Alfred Wigan 
as Mildmay, Charles Wyndham as Hawksley, and 
Mrs. Wigan as Mrs. Sternhold. 

On July 6, 1872, Alfred Wigan took his farewell 
benefit at Drury Lane, under the patronage of the 
Prince and Princess of Wales, when Tom Taylor's 
comedy was presented, with Mr. and Mrs. Wigan 
in their original roles. On March 13, 1880, at the 



2 6 4 ptap£ of tfje $tc$mt 

St. James's Theatre in London, the following no- 
table cast appeared : 

John Mildmay Mr. Kendal. 

Captain Hawksley William Terriss. 

Mr. Potter John Hare. 

Dunbilk T. N. Wenman. 

Longford Mr. Brandon. 

Markham " Draycott. 

Gimlet " Denny. 

Jessop Albert Chevalier. 

Clerk Mr. De Verney. 

Mrs. Mildmay Miss Grahame. 

Mrs. Sternhold Mrs. Kendal. 

Mr. Hare excelled himself in the comparatively 
small part of Potter, and was, as one critic ex- 
pressed himself, "a keen instance of unexaggerated 
eccentricity." The Kendals played Mr. Mildmay 
and Mrs. Sternhold during their tour of this coun- 
try in 1893-1894. 

At the Criterion Theatre in London on January 
19, 1889, the comedy was revived with Charles 
Wyndham as Mildmay, Herbert Standing as 
Hawksley, William Blakeley as Potter, Mary 
Moore as Mrs. Mildmay, and Mrs. Bernard-Beere 
as Mrs. Sternhold. As might have been expected, 
Mr. Wyndham failed to realize the character of 
Mildmay, while Mrs. Bernard-Beere dressed Mrs. 
Sternhold in a fanciful French fashion that would 
have struck terror to the heart of that British 
matron. It was said at the time that the actress 
had recently won a large sum at Monte Carlo, and 
that her extravagant dressing was an attempt to 






pap£ of tJje $tegent. 265 

spend some of the money thus acquired. The crit- 
ics tried to excuse the failure of the players 
by abusing the play, and "time-worn," "ill-con- 
structed," "played-out," and similar terms were 
applied to Tom Taylor's work. 



A Story of Waterloo, a play in one act by Dr. 
A. Conan Doyle, was produced at Bristol, Eng- 
land, on September 21, 1894, under the title of 
"The Straggler of '15." After this single per- 
formance its title was changed to "A Story of 
Waterloo," and under that name it was given at 
the Garrick Theatre in London at a special mati- 
nee on December 17 of the same year. The cast 
was as follows : 

Corporal Gregory Brewster Henry Irving. 

Sergeant Archie McDonald Mr. Haviland. 

Colonel James Midwinter Fuller Mellish. 

Nora Brewster Annie Hughes. 

Its success was so great that it was added to 
Irving's repertory, and on September 21, 1895, it 
was first given in America at the Academy of 
Music in Montreal, this being the anniversary of 
its production. Since that time the little play has 
become familiar to American playgoers, and Lau- 
rence Irving has been seen on several occasions as 
Colonel Midwinter, the character of the old cor- 
poral remaining one of the best of the many im- 
personations of the elder Irving. Of late years the 



266 papg of tfje $re£ent. 

title of the piece has been shortened, and now it is 
usually announced as "Waterloo." 

The Sunken Bell, a poetical play in five acts 
adapted by Charles Henry Meltzer from "Die Ver- 
sunkene Glocke" of Gerhart Hauptmann, was pro- 
duced at the Hollis Street Theatre in Boston by 
E. H. Sothern and Virginia Harned on December 
21, 1899, the cast being as follows : 

Heinrich E. H. Sothern. 

Magda Rebecca Warren. 

T ** ChM ^ { g£? Saeerro. 

The Vicar Arthur R. Lawrence. 

The Schoolmaster Roydon Erlynne. 

The Barber Owen Fawcett. 

Old Wittikin C. P. Flockton. 

Rautendelein Virginia Harned. 

The Nickelmann Rowland Buckstone. 

The Wood Sprite Norman Parr. 

First Elf Edna Philips. 

Second Elf Edna Crawford. 

Third Elf Irene Rooke. 

Fourth Elf May Johnson. 

"Die Versunkene Glocke" was one of the great 
successes of recent years on the German stage, and 
in that country such a fairy-tale as the drama pre- 
sented was easily understood by theatre-going peo- 
ple. The serious poetic drama which introduces 
witches, gnomes, and demons seems rather strange 
to playgoers here, however, and it was a brave un- 
dertaking on Mr. Sothern's part to attempt Haupt- 
mann's beautiful play. He was fortunate in hav- 



Papg of tfje $re£ent. 267 

ing an excellent version made by Mr. Meltzer, who 
freely rendered the German lines into English 
verse, and also fortunate in the original incidental 
music, including the preludes and intermezzos, 
composed for the production by Aime Lachaume. 
The music was a most important feature, plainly 
betraying the musician in its workmanship ; it was 
always exactly fitted to the situation and, with its 
unobtrusive suggestiveness, had a great power of 
poetic effect. One critic said that "he could almost 
call it the first incidental music to a modern roman- 
tic drama that he had been thoroughly glad to 
hear." As to the play itself, it was agreed that it 
was fantastical, weird, and pictorial, its appeal 
being largely to the eye, for such a series of en- 
trancingly beautiful and poetic stage pictures had 
been rarely seen before. 

Mr. Sothern, as the bell-founder, delivered his 
speeches as if he felt their poetry as well as their 
sense, and showed the heights to which he could 
attain, while Miss Harned never forgot the super- 
natural side of the character of Raatendelein. The 
whole production was an artistic delight to those 
who like to see a play perfectly presented, but the 
style of the piece was foreign to what American 
theatre-goers were accustomed to seeing, and Mr. 
Sothern, after giving four performances of "The 
Sunken Bell" in Boston and a few in other cities, 
dropped from his repertory one of the great dramas 
of modern times. 



268 pap£ of tfje present. 

Sweet Lavender, a comedy in four acts by Ar- 
thur W. Pinero, was produced at Terry's Theatre 
in London on March 21, 1888, and won instant 
favor from the English theatre-going public. The 
cast was as follows : 

Geoffrey Wedderbum Brandon Thomas. 

Clement Hale Bernard Gould. 

Dr. Delaney Alfred Bishop. 

Dick Phenyl Edward Terry. 

Horace Bream F. Kerr. 

Mr. Maw Sant Matthews. 

Mr. Bulger T. C. Valentine. 

Mrs. GilMlian M. A. Victor. 

Minnie Maude Millett. 

Ruth Rolt Carlotta Addison. 

Lavender Rose Norreys. 

The next season two productions in this country 
attested the value and popularity of Mr. Pinero's 
work. It was produced at the Lyceum Theatre 
in New York, under the management of Daniel 
Frohman, on November 12, 1888, the cast being: 

Geoffrey Wedderbum Charles Walcot. 

Clement Hale Henry Miller. 

Dr. Delaney T. C. Valentine. 

Dick Phenyl W. J. Le Moyne. 

Horace Bream Herbert Kelcey. 

Mr. Maw Walter Bellows. 

Mr. Bulger W. B. Royston. 

Mrs. Gilfillian Mrs. Thomas Whiffen. 

Minnie Georgia Cayvan. 

Ruth Rolt Mrs. Charles Walcot. 

Lavender Louise Dillon. 

On the following 31st of December, the stock 
company at the Boston Museum presented Mr. 



Pap£ of tfyt $«£ent. 269 

Pinero's play for the first time in that city, where 
it ran for several months and received frequent re- 
vivals during the immediately ensuing seasons. 
The cast was: 

Geoffrey Wedderburn H. M. Pitt. 

Clement Hale Edgar L. Davenport. 

Dr. Delaney T. L. Coleman. 

Dick Phenyl George W. Wilson. 

Horace Bream John B. Mason. 

Mr. Maw H. P. Whittemore. 

Mr. Bulger C. S. Abbe. 

Mrs. Gillillian Fanny Addison. 

Minnie Viola Allen. 

Ruth Rolt Annie Clarke. 

Lavender Miriam O'Leary. 

There were several changes in the London cast 
during the run at Terry's Theatre, T. C. Valentine 
coming to New York to stage the play at the Ly- 
ceum Theatre and Rose Norreys being replaced by 
Blanche Horlock. 



Tess of the D'Urbervilles, a drama in four acts 
by Lorimer Stoddard, from Thomas Hardy's novel 
of the same name, was produced by Mrs. Fiske at 
the Fifth Avenue Theatre in New York on March 
2, 1897, the cast being as follows : 

Angel Clare Edward M. Bell. 

Alec Stoke-D'Urberville Charles Coghlan. 

John Durbeyfteld John Jack. 

Abraham Durbeyfield Alice Pierce. 

Farmer Crick W. L. Branscombe. 

Jonathan Wilfrid North. 

Tim Alfred Hickman. 



2 7 o $fcp£ of t§t $te$tnt 



James W. E. Butterfield. 

Bailiff W. L. Branscombe. 

Joan Durbeyfield Mary E. Barker. 

Tess Minnie Maddern Fiske. 

'Liza Lu Edith Wright. 

Marian Annie Irish. 

Jzz Nellie Lingard. 

Retty Bijou Fernandez. 

Mrs. Fiske's impersonation of Tess was imme- 
diately hailed as one of the most remarkable pieces 
of acting known to the modern stage. She con- 
tinued to act Tess in New York and through the 
country for three seasons, and the play still re- 
mains in her repertory. Alec D'Urberville has 
been played by Frederic de Belleville, Angel Clare 
by Forrest Robinson and John Craig, John Dur- 
beyfield by W. J. Le Moyne, and Marian by Elea- 
nor Lane, Olive Hoff, and Mary Shaw. 

In 1900 another version of Mr. Hardy's novel, 
made by H. A. Kennedy, was given at the Comedy 
Theatre, London, and in various provincial thea- 
tres, with Mrs. Lewis Waller in the title role ; but 
as the dramatic rights to "Tess of the D'Urber- 
villes" in England were owned by Mrs. Fiske, it 
was soon withdrawn. 



Too Much Johnson, a farce in three acts adapted 
by William Gillette from "La Plantation Thomas- 
sin," by Maurice Ordonneau, was produced at the 
Opera House in Holyoke, Massachusetts, on Oc- 
tober 25, 1894. The original French play had its 




MRS. FISKE, 

As Tess. 



pap£ of tfje $re£ent. 



271 



first presentation at the Folies Dramatiques in 
Paris on June 1, 1891, an English version by Wil- 
liam Yardley being performed under the title of 
"The Planter" at the Prince of Wales's Theatre in 
London on October 31, 1891. "Too Much John- 
son" reached New York on November 26, 1894, 
and there began a reign of unbounded popularity 
which continued several seasons. The cast was 
as follows : 

Mr. Augustus Billings William Gillette. 

Mrs. Augustus Billings Maud Haslam. 

Mrs. S. Upton Batterson Kate Meek. 

Mr. Francis Faddish Samuel Reed. 

Leonora Faddish Marie Green wald. 

Henry Macintosh S. Miller Kent. 

Joseph Johnson, Esq Ralph Delmore. 

M. Leon Dathis Harry Bell. 

Frederick Robert Hickman. 

Steward Benjamin Hendricks. 

Mr. Sellery Looton Thomas Erison. 

Messenger Cecil Lionel. 

A London engagement of "Too Much Johnson" 
began at the Garrick Theatre on April 18, 1898, 
Mr. Gillette appearing as Billings, Ida Conquest 
as Mrs. Billings, Kate Meek as Mrs. Batterson, 
Samuel Reed as Francis Faddish, Hope Ross as 
Leonora Faddish, Arnold Daly as Henry Mac- 
intosh, Joseph Brennan as Joseph Johnson, and 
Joseph Francoeur as M. Leon Dathis. On his re- 
turn to this country, Mr. Gillette reappeared in 
New York at the Empire Theatre on August 29, 
1898, the cast being identical with that of the Lon- 



2 7 2 $fcp£ of tf>e ^regent. 

don engagement. "Too Much Johnson" has been 
occasionally revived at stock theatres throughout 
the United States. 

La Tosca, a melodrama in five acts by Victorien 
Sardou, was produced at the Theatre de la Porte 
St. Martin in Paris on November 24, 1887. The 
cast was : 

Baron Scarpia Pierre Berton. 

Mario Cavaradossi M. Dumeny. 

Cesare Angelotti M. Rosney. 

Marquis Attavanti M. Francis. 

Eusebe M. Lacroix. 

Vicomte de Trevilhac M. A. Violet. 

Trevulce M. Deschamps. 

Barletta M. Bonyer. 

Sciarrone M. Piron. 

Paisiello M. Mollet. 

Diego, Prince d'Arragon M. Delile. 

Mgr. Scaferelli M. Deschappeles. 

Gennarino M. Shenstone. 

Floria Tosca Sarah Bernhardt. 

Reine Marie Caroline Mme. Bouche. 

Princesse Orlonia Mlle. Ange. 

Luciana " Durand. 

All Paris assembled to see Bernhardt in the new 
play by the French master of melodrama. Yet 
at the close of the performance the opinion of the 
audience was so diverse that strenuous objections 
were made to the proclamation of the name of the 
author. "Ladies and gentlemen," began Pierre 
Berton, who had just finished his trying imper- 
sonation of Baron Scarpia, "the piece — " 

"Bernhardt, Bernhardt!" shouted the audience. 




FANNY DAVENPORT, 

As Fiona Tosoa, in La Toscf 



$Iapg of rtje $tegent. 2 7 3 

The actor hesitated, and loud cries for Bernhardt 
were again mingled with demands for the name 
of the author. Berton tried to proceed. "Ladies 
and gentlemen, the piece which we have had the 
honor — " 

Again he was interrupted, half the house being 
for, half against Sardou. The actor then bowed 
and left the stage in search of Bernhardt, but she 
refused to appear. "Go on and make the announce- 
ment," she said. 

Once more Berton tried, and this time was suc- 
cessful. Then the actress came forward, and the 
applause which followed was in marked contrast 
to that which greeted Sardou's name. "Bravo, 
bravo !" and "Vive Sarah !" resounded throughout 
the house, and then the audience dispersed. 

The following July London playgoers had an 
opportunity to see the French actress as Floria 
Tosca, and in February, 1891, she first played the 
part in this country. Meanwhile Fanny Davenport 
had secured the American rights to an English 
version of the play, and the season that it was pro- 
duced in Paris she brought it out here. Her ven- 
ture proved a great success, and the drama was 
continued in her repertory, while after her death 
Melbourne MacDowell and Blanche Walsh starred 
in it. 

The Tree of Knowledge, a drama in five acts by 
R. C. Carton, was produced at the St. James's 
18 



274 Papg of tfje ^regent. 

Theatre in London on October 25, 1897, by George 
Alexander and his company, the cast being as 
follows : 

Nigil Stanyon George Alexander. 

SirMostyn Hollingworth W. H. Vernon. 

Brian Hollingworth Fred Terry. 

Loftus Roupell Henry B. Irving. 

Major Blencoe Henry V. Esmond. 

Sweadle George Shelton. 

Royds H. Ives. 

Mrs. Stanyon Carlotta Addison. 

Monica Blayne Fay Davis. 

Deborah Sweadle Winifred Dolan. 

Belle Julia Neilson. 

A few strong dramatic scenes and the really 
witty, mordant dialogue of "The Tree of Know- 
ledge" were the only things that made it accept- 
able. Mr. Carton's earlier manner, which reached 
its climax in the mildly diverting "Liberty Hall," 
still clung to him, and resulted in diffusing the 
strength of a play which could have no abiding- 
place for Dickensish characters and conventional 
comic love interludes. The weakness of his first 
act was radical, and the last act was almost be- 
neath criticism, for it simply gathered up the sepa- 
rated strands of a thread of plot which might just 
as well have been left ungathered. All in all, Mr. 
Carton was not a startling success in his attempt 
to imitate the Continental and English writers of 
problem plays. He has a caustic wit of his own, 
even more telling in its way than his rivals', but 
he has so far evolved no problem worth the think- 



$Iap£ of rtje ^regent. 275 

ing about. His characters are all stencil-plate fig- 
ures, the common property of the melodramatist. 
The American rights to Mr. Carton's play were 
secured by Daniel Frohman, and it was performed 
for the first time in this country on January 24, 
1898. The cast was : 

Nigil Stanyon Edward J. Morgan. 

Sir Mostyn Hollingworth Charles Walcot. 

Brian Hollingworth Frank R. Mills. 

Loftus Roupell William Courtleigh. 

Major Blencoe Felix Morris. 

Sweadle John Findlay. 

Royds Thomas Whiffen, Jr. 

Monica Mary Mannering. 

Mrs. Stanyon Mrs. Thomas Whiffen. 

Deborah Sweadle Alison Skipworth. 

Belle Julie Opp. 

Shortly after the opening performance of "The 
Tree of Knowledge" at the Lyceum Theatre, James 
K. Hackett replaced Mr. Morgan as Nigil Stan- 
yon, and George Alison succeeded Mr. Mills. 



Trelawny of the Wells, a comedy in four acts 
by Arthur W. Pinero, was produced at the Royal 
Court Theatre in London on January 20, 1898. 
The cast was as follows : 

James Telfer Athol Forde. 

Augustus Colpoys E. M. Robson. 

Ferdinand Gadd Gerald Du Maurier. 

Tom Wrench Paul Arthur. 

Mrs. Telfer (Miss Violet Sylvester) Mrs. E. Saker. 

Avonia Bunn Pattie Browne. 

Rose Trelawny Irene Vanbrugh. 



2 7 6 paps? of tfje $tt$tnu 



Imogen Parrott Hilda Spong. 

O'Dwyer Richard Purdon. 

{Mr. Vernon. 
" Foster. 
" Melton. 
Miss Baird. 

Hall-keeper at the Pantheon W. H. Quinton. 

V ice-Chancellor Sir William Gower, 

Kt Dion Boucicault. 

Arthur Gower James Erskine. 

Clara de Foenix Eva Williams. 

Miss Trafalgar Gower Isabel Bateman. 

Captain de Foenix Sam Sothern. 

Mrs. Mossop Miss Le Thiere. 

Mr. Ablett Fred Thorne. 

Charles Aubrey Fitzgerald. 

Sarah Polly Emery. 

Inasmuch as a new play by Mr. Pinero had come 
to be considered a feature of the American season, 
its rights for this country were immediately se- 
cured by Daniel Frohman, and on November 22, 
1898, it was performed for the first time here 
by his stock company at the Lyceum Theatre, New 
York. The unconventionality and originality of 
"Trelawny of the Wells" secured it an immediate 
success. Mr. Pinero had written better plays, but 
it is extremely doubtful if he had written any 
which combined fantasy, romance, and genuine hu- 
man nature in such equal proportions. To this 
may be attributed its popularity. It ran at the Ly- 
ceum Theatre until the following spring, the cast 
being as follows : 

Tom Wrench Edward J. Morgan. 

Ferdinand Gadd William Courtleigh. 

James Telfer George C. Boniface. 



ptapg of tfje $te$mt 277 



Augustus Colpoys Charles W. Butler. 

Rose Trelawny Mary Mannering. 

Avonia Bunn Elizabeth Tyree. 

Mrs. Telfer Mrs. Charles Walcot. 

Imogen Parrott Hilda Spong. 

O'Dwyer Grant Stewart. 

Mr. Denzil Thomas Whiffen. 

Mr. Mortimer Louis Anderson. 

Mr. Hunston Edward Castano. 

Miss Brewster Rachel Ford. 

Hall-keeper at the Pantheon . . E. H. Wilkinson. 
Vice-Chancellor Sir William 

Gower, Kt Charles Walcot. 

Arthur Gower Henry Woodruff. 

Clara de Foenix Helma Nelson. 

Miss Trafalgar Gower Ethel Hornick. 

Captain de Foenix H. S. Taber. 

Mrs. Mossop Mrs. Thomas Whiffen. 

Mr. Ablett John Findlay. 

Charles William Eville. 

Sarah Blanche Kelleher. 

It was afterward played on tour by the Lyceum 
company, and the next season was briefly revived 
with changes in the cast involving John Mason's 
appearance as Tom Wrench, Grant Stewart's as 
Ferdinand Gadd, William Courtenay's as Arthur 
Gower, and Eva Vincent's as Mrs. Mossop. In 
"Trelawny of the Wells" Mr. Pinero represented 
faithfully a meagre section of the theatrical world 
of London in the sixties. Over it all he cast a 
gentle halo of extravagance, his story being, never- 
theless, entertaining, coherent, and logical. 

Trilby, a play in four acts dramatized by Paul M. 
Potter from George Du Maimer's novel of the 
same name, was produced at the Park Theatre in 
1 8* 



2 7 8 $fapg of tfje $tegent. 

Boston, under the management of A. M. Palmer, 
on March n, 1895. The cast was as follows: 

Taffy Burr McIntosh. 

The Laird John Glendinning. 

Little Billee Alfred Hickman. 

Svengali Wilton Lackaye. 

Gecko Robert Paton Gibbs. 

Zouzou Leo Dietrichstein. 

Dodor Herbert Ayling. 

Antony V. M. De Silke. 

Lorimer Edwin Brandt. 

Rev. Thomas Bagot Edward L. Walton. 

Manager Kaw Reuben Fax. 

Philippe Morel Bean. 

Trilby Virginia Harned. 

Mrs. Bagot Bertha Welby. 

Mme. Vinard Mathilde Cottrelly. 

Angele Grace Pierrepont. 

Honorine Lucille Nelson. 

Mimi Monta Elmo. 

Musette Josephine Bennett. 

"Trilby" on the stage became the rage of the 
hour. It was brought out in New York at the Gar- 
den Theatre on the 15th of April, the only changes 
in the above cast being the appearance of Alexis 
L. Gisiko as Dodor and of Rosa Rand as Mrs. 
Bagot. On September 7, 1895, it was given its 
first performance in Great Britain at the Theatre 
Royal, Manchester, under the management of Beer- 
bohm Tree; and on the following October 30 it 
opened the season in London at the Haymarket 
Theatre, the cast in both cases being as follows : 

Svengali Beerbohm Tree. 

Taffy Edmund Maurice. 

The Laird Lionel Brough. 



papg of tfje f&regent 2 79 



Little Billee Patrick Evans. 

Gecko C. M. Hallard. 

Zouzou Herbert Ross. 

Dodor Gerald Du Maurier. 

Antony Berte Thomas. 

Lorimer Gayer Mackay. 

Rev. Thomas Bagot Charles Allan. 

Manager Kaw Holman Clark. 

Trilby Dorothea Batrd. 

Mrs. Bagot Frances Ivor. 

Mme. Vinard Annie Hughes. 

Angele Cicely Turner. 

Honorine Agnes Russell. 

Mimi Mabel Lowe. 

Musette Sadie Wigley. 

Later revivals of "Trilby" in this country 
brought into its cast Edith Crane and Mabel Am- 
ber in the title role, J. M. Colville and Reuben Fax 
as Svengali, Herbert Carr and Richard Ganthony 
as Taffy, Harry A. Smith and Charles Canfield as 
the Laird, Frederick Conger and George P. Web- 
ster as Little Billee, and Alice Butler and Sara 
Stevens as Mrs. Bagot. On December 14, 1896, 
at the Knickerbocker Theatre in New York, Mr. 
Tree appeared as Svengali for the first time in the 
United States, with Kate Rorke as Trilby, F. Mac- 
Vicars as Taffy, Lionel Brough as the Laird, Al- 
fred Wigley as Little Billee, and Elsie Chester as 
Mrs. Bagot. 

A German version of "Trilby" was given at the 
Thalia Theater in Berlin on January 25, 1897. 

The Two Orphans, a melodrama in five acts by 
Adolphe-Philippe d'Ennery and Eugene Cormon, 



2 8o $fapg of tfje $te$tnt. 

was produced at the Theatre de la Porte St. Martin 
in Paris on January 29, 1874, its title, "Les Deux 
Orphelines," being exactly translated when the 
play was adapted into English. In December of 
the same year an English adaptation by Hart Jack- 
son was first seen in this country at the Union 
Square Theatre in New York, by Shook and Pal- 
mer's stock company, the cast being as follows : 

Chevalier Maurice De Vaudrey . . Charles R. Thorne. 

Count De Linieres Charles Parselle. 

Picard Stuart Robson. 

Jacques Frochard McKee Rankin. 

Pierre Frochard Frank F. Mackay. 

Louise Kate Claxton. 

Henriette Kitty Blanchard. 

Countess Diane De Linieres Fanny Morant. 

La Frochard Mrs. Marie Wilkins. 

"The Two Orphans" proved a stirring melo- 
drama in the best sense of that term. It was a 
melodrama of refinement, of deep pathos, of keen 
anguish, of bitter suffering, of brave contention 
between love and duty. The continuous action, 
the strong situations, the wonderfully effective 
tableaux made up a play which worked on the feel- 
ings of the oldest playgoer, for d'Ennery, cunning 
playwright as he was, had woven the possibilities 
of Parisian street life into a picturesque story 
whose incidents appealed directly to the spectator. 
Indeed, it made such a sensation in the theatrical 
world that managers in different parts of the 
country immediately announced versions of d'En- 




KATE CLAXTON, 

As Louise, in the Two Orphans. 



papg of tfje $re£ent. 



281 



nery's work, and there was some controversy over 
it in San Francisco, which led to a hurried produc- 
tion at the California Theatre there with the fol- 
lowing players : 

Chevalier Maurice De Vau- 

drey Barton Hill. 

Count De Linieres Henry Edwards. 

Picard Robert Pateman. 

Jacques Frochard W. A. Mestayer. 

Pierre Frochard T. W. Keene. 

Marquis De Presles Nelson Decker. 

Doctor of the Hospitals Walter M. Leman. 

Henriette Alice Dunning Lingard. 

Louise Dickie Lingard. 

Countess Diane De Linieres. Mrs. Sophie Edwin. 

Marianne Carrie Wyatt. 

La Frochard Mrs. Elizabeth Saunders. 

Lady Superior " Judah. 



After its first New York success it was given 
at the Boston Theatre in Boston on December 13, 
1875, with a cast which has never been excelled, 
the principal parts being thus distributed : 

Chevalier Maurice De Vaudrey ... L. R. Shewell. 

Count De Linieres C. Leslie Allen. 

Picard D. J. Maguinnis. 

Jacques Frochard P. A.. Anderson. 

Pierre Frochard Gustavus Levick. 

Marquis De Presles M. D. Bebus. 

LaHeur T. M. Hunter. 

Doctor of the Hospitals H. Rees Davies. 

Louise Kate Claxton. 

Henriette Mrs. Thomas Barry. 

Countess Diane De Linieres " Charles Poole. 

Marianne Blanche Hayden. 

La Frochard Mrs. Marie Wilkins. 

Sister Genevieve " T. M. Hunter. 

Julie Lizzie Hunt. 



282 papg of tfje $tt$tnt 

It was while this play was being performed in 
Brooklyn, New York, that the terrible fire occurred 
by which more than two hundred lives were lost, 
H. S. Murdoch, who played Pierre, and Claude 
Burroughs, who played Picard, being among the 
victims. Miss Claxton did not lose her presence 
of mind, and gave to the world through the papers 
interesting accounts of the great tragedy, so that 
her name became known throughout the country 
in connection with the calamity. Later she toured 
with the play, starring in the part of Louise the 
blind girl, and so great was her success in the 
character, and so fully identified with it did she 
become in the public mind, that when she tried to 
appear in other roles her audiences fell away, and 
she was obliged to present "The Two Orphans" 
season after season. Of late the play has fallen 
into the hands of the stock companies and the ama- 
teurs, but it still remains one of the best dramas 
that France has sent us during the last thirty years. 

The Tyranny of Tears, a comedy in four acts 
by Haddon Chambers, was produced at the Cri- 
terion Theatre in London on April 6, 1899, the cast 
being as follows : 

Mr. Parbury Charles Wyndham. 

Mr. George Gunning Frederick Kerr. 

Colonel Armitage Alfred Bishop. 

Evans Stanley Pringle. 

Miss Hyacinth Woodward Maude Millett. 

Mrs. Parbury Mary Moore. 



$Iap£ of tfje $te$tnt. 283 

The verdict upon Mr. Chambers's play is thus 
summed up in a criticism which appeared in the 
"Pall Mall Gazette": "Despite its defects— and 
what human effort is free from them ? — the comedy 
gives a singular impression of reality, dealing, as 
it does, with so ordinary and typical a subject, 
through the medium of character and talk which, 
though never brilliant — and where talk is brilliant, 
characterization is for the most part false — is yet 
trenchant, amusing, and, with but few exceptions, 
rarely trivial." 

The American rights were secured by Charles 
Frohman for John Drew, and on September n, 
1899, the play was performed at the Empire Thea- 
tre, New York, for the first time in this country. 
The cast was : 

Mr. Parbury John Drew. 

Mr. George Gunning Arthur Byron. 

Colonel Armitage Harry Harwood. 

Evans Frank Lamb. 

Miss Hyacinth Woodward Ida Conquest. 

Mrs. Parbury Isabel Irving. 

Under the Gaslight, a melodrama by Augustin 
Daly, was produced at the New York Theatre on 
August 12, 1867. The New York Theatre was at 
that time under the management of William Wor- 
rell, but Augustin Daly controlled the stage and 
personally supervised the production of the melo- 
drama which was afterward to be one of the the- 
atrical sensations of the day. The main idea of 



2 8 4 papg of tfje $tt$mt 

"Under the Gaslight" occurred to Mr. Daly while 
watching the scene in "Rosedale" in which Elliot 
Grey escapes from the clutches of Miles McKenna, 
but there is no resemblance between the two ex- 
cept in the skilful use of familiar theatrical expe- 
dients. Mr. Daly merely employed exactly the 
same dramatic elements, with entirely different 
pictorial adjuncts and a much stronger theatrical 
effect. "The railroad incident was an after- 
thought," says Edward A. Dithmar, in his "Mem- 
ories of Daly's Theatres." "As he used to walk 
toward his home in Horatio Street in the evenings, 
thinking about his play, the rattle of the trains of 
the Hudson River Road and the whistling of the 
engines somehow became involved in his scheme. 
The idea of the exhibition of a moving railroad 
train on the stage was not new, but the rescue of 
a human being, as it was depicted in 'Under 
the Gaslight,' from a railroad track, just in 
the nick of time, was a novel and a patentable 
device." 

"Under the Gaslight" created an immediate sen- 
sation. John K. Mortimer, whose success as Bad- 
ger in "The Streets of New York" at the Olympic 
Theatre was still fresh in the public mind, played 
Snorkey, the bluff, manly soldier messenger ; J. B. 
Studley perfectly represented the low villain Byke; 
Charles T. Parsloe, Jr., was successful in the con- 
temporary character sketch of Bermudas, the news- 
boy, and Henry Rynar was the signalman. The 



papg of tl)e f&regent. 285 

leading female parts were acted by Rose Eytinge, 
Mrs. Skerrett, and Mrs. Wright. 

The play ran fifty nights, and was an important 
stepping-stone at the beginning of Augustin Daly's 
career as manager and playwright. It was revived 
on December 4, with the Worrell sisters in the 
three principal female parts, and with George 
Clarke as the successor of "Dolly" Davenport as 
Ray Trafford, the sentimental young man of the 
drama. It was revived again on November 4, 1868, 
with Mr. and Mrs. Frederick B. Conway as Byke 
and Laura, and has since been played in almost 
every city and town throughout the United States. 



Under the Red Robe, a romantic play in four 
acts adapted by Edward Rose from the novel of 
the same name by Stanley Weyman, was produced 
at the Haymarket Theatre in London on October 
17, 1896. The cast was as follows : 

Gil de Berault Herbert Waring. 

Richelieu Sydney Valentine. 

Henri de Cocheforet Hamilton Revelle. 

Marquis de Pombal J. L. Mackay. 

De Fargis Albert Mayer. 

Captain Larolle Cyril Maude. 

Lieutenant Manet Bernard Gould. 

Sir Thomas Brunt Dawson Milward. 

Clon E. Holman Clark. 

Louis Clarence Blakiston. 

Sergeant Rupert Lister. 

Malpas Cecil Hope. 

Renee de Cocheforet Winifred Emery. 

Madame de Cocheforet Eva Moore. 



286 ptapg of tye ^regent. 

Madame Zaton Fanny Coleman. 

Suzette Miss Halkett. 

Waitress Annie Saker. 

The play was given at the Haymarket Theatre 
in the presence of the Princess of Wales and her 
daughters and a vast company, and immediately 
scored a great success. Mr. Rose had adapted Mr. 
Weyman's novel with a good deal of skill, and had 
dexterously retained the scenes which gave an op- 
portunity for a display of the work of the stage car- 
penter and artist. Charles Frohman secured the 
new play at once, and brought it out at the Empire 
Theatre in New York on December 28 of the same 
year. William Faversham played Gil de Berault, 
John E. Dodson Richelieu, Jameson Lee Finney 
Captain Larolle, Robert Edeson Lieutenant Manet, 
W. H. Crompton Clon, Viola Allen Renee de 
Cocheforet, and Ida Conquest Madame de Coche- 
foret. The Richelieu of Mr. Dodson took rank as 
one of the great impersonations of the Cardinal 
in recent years, and the drama itself pleased a 
playgoing public which liked its dramatic fare 
highly spiced with romance, lively action, and im- 
possible adventure. 

The next season the Empire Theatre company 
repeated the success of the New York run, and the 
play was given throughout the country. Since 
then it has fallen into the hands of the stock-theatre 
managers and still proves as popular as in the 
days of its original production. Although it is not 



$iap£ of tfje $regent. 287 

as strong a play as "The Prisoner of Zenda," it 
has the same elements that make for popularity as 
that drama, and is likely to hold the stage when 
many better pieces are forgotten. 



Under Two Flags, a drama in five acts adapted 
by Paul M. Potter from Ouida's novel of the same 
name, was produced in New York at the Garden 
Theatre on February 5, 1901, the cast being as fol- 
lows: 

Bertie Cecil Francis Carlyle. 

Earl of Rockingham Maclyn Arbuckle. 

Rake Edward S. Abeles. 

Countess of Warminster Rose Snyder. 

Lady Venetia Lyonnesse Margaret Robinson. 

Marquis of Chateauroy Campbell Gollan. 

Lord Constantia Arthur Bruce. 

Pierre Baroni Albert Bruning. 

Rente Baroni Grace Elliston. 

Maitre Savignol Frank Browning. 

General Lamoriciere Matt Snyder. 

Paul Lamoriciere Madge West. 

Captain De Chanrellon Beresford Webb. 

En-Ta-Maboull Frank Leyden. 

Beau Bruno Tefft Johnson. 

Tictac George Gaston. 

Abd-El-Kareen, the Marabout .... Albert Bruning. 

Bou Allam William Sissons. 

Amineh Mrs. F. M. Bates. 

Yussof Malcolm Gunn. 

Yussuf Mary Bayly. 

Cigarette Blanche Bates. 

It ran at the Garden Theatre until the following 
June, and was then taken on a western tour ex- 
tending as far as San Francisco. Its second season 



288 papg of tf)e ^regent. 

was interrupted for several months by Miss Bates's 
serious illness, Isabel Irving playing Cigarette for 
a few performances, and the tour was not re- 
sumed until January 20, 1902, at the Hollis Street 
Theatre in Boston. Two weeks later a second 
New York run was begun at the Academy of 
Music. There have been numerous changes in the 
cast since the opening performance. Stanley Dark 
and Eugene Ormonde successively replaced Mr. 
Carlyle as Bertie Cecil, Claude Gillingwater and 
Burr Mcintosh succeeded Mr. Arbuckle as the 
Earl of Rockingham, and Rankin Duvall followed 
Mr. Abeles as Rake. 

The popularity of this version of "Under Two 
Flags" gave rise to numerous other adaptations, 
which were produced with more or less success by 
various stock companies throughout the country. 

'Way Down East, a drama in four acts by Lottie 
Blair Parker and Joseph R. Grismer, was produced 
at Newport, Rhode Island, on September 3, 1897, 
the cast of characters being as follows : 

Anna Moore Phoebe Davees. 

Squire Amasa Bartlett James O. Barrows. 

Louisa Bartlett Sara Stevens. 

David Bartlett Forrest Robinson. 

Kate Brewster Ethel Carpenter. 

Professor Sterling J. Alden Bass. 

Hi Holler Felix Haney. 

Lennox Sanderson Joseph R. Grismer. 

Martha Perkins Sadie Stringham. 

Rube Whipple Frank Murtha. 




BLANCHE BATES, 

A^ Cigarette, in Under Two Flags. 



$iap£ of tlje $regettt 289 



Seth Holcomb J. H. Bunney. 

Dr. Wiggins J. H. Davies. 

Zeke Edwin W. Hoff. 

Sam John F. Boyle. 

Cynthia Caro Gordon. 

Amelia Jeanne Millard. 

Dorcas Bertha Tucman. 

Priscilla Grace Alden. 

Hank Benjamin Ackerman. 

Eben R. A. Hilliard. 

The popularity of "'Way Down East" was im- 
mediate. After a tour of several months through 
New England and Western towns, it began a New 
York engagement at the Manhattan Theatre on 
February 7, 1898, continuing there well into the 
summer months. Mr. Barrows was succeeded in 
the character of Squire Bartlett by Odell Williams, 
who continued in the role for several seasons. Len- 
nox Sanderson was played later by Frank Lander, 
Martha Perkins by Ella Hugh Wood, Professor 
Sterling by George Backus, and Kate Brewster by 
Minnie Dupree and Ethel Carpenter. 

The Weaker Sex, a play in three acts by Arthur 
W. Pinero, was produced at the Court Theatre in 
London on March 16, 1889, with this cast : 

Lord Gillingham A. M. Denison. 

Honorable George Liptrott .... E. Allan Aynesworth. 

Mr. Bargus, M.P Edward Richton. 

Captain Jessett A. B. Francis. 

Dudley Silchester W. H. Vernon. 

Ira Lee W. H. Kendal. 

Hawley Hill M. New all. 

Wade Green Eric Lewis. 

J 9 



*.9° Pap£ of tije $regent. 



Spencer H. Deane. 

Lady Gillingham Violet Vanbrugh. 

Lady Liptrott Patty Chapman. 

Lady Struddock Miss E. Matthews. 

Lady Vivash Mrs. Kendal. 

Sylvia Annie Hughes. 

Mrs. Hawley Hill Trevor Bishop. 

Mrs. Boyle-Chewton Fanny Coleman. 

Rhoda Olga Brandon. 

Miss Cardelloe Blanche Ellice. 

Petch Miss C. Lucie. 

"The Weaker Sex" was originally brought out 
at the Theatre Royal in Manchester, England, on 
September 28, 1888, on which occasion the dram- 
atist succumbed to the general desire for a happy 
ending to a play, and so married off both his hero- 
ines, and let the curtain fall on a conclusion that 
would please the majority of playgoers. But after- 
ward he came to a realizing sense of what was due 
his art, and so changed the ending of "The Weaker 
Sex" that when it was produced in London the 
last act left the three principal characters unhappy 
— a natural outcome that was the only logical end 
of the story. The play treated of a most painful 
theme, but it was used with such power and yet 
with such exquisite delicacy that the piece was 
really impressive and pathetic. And, as one critic 
acknowledged, the best of it all was that in the 
torturing but wholly natural conclusion not the 
smallest, driest sop was thrown to the Philistines. 

In the Manchester performance Mr. Kendal 
played Dudley Silchester, but in London he acted 
Ira Lee with a manliness and strength that added 



$Iap£ of t&e $tt$tnt. 291 

greatly to the interest of the play, and in his final 
scene reached a height he had rarely attained be- 
fore. Mrs. Kendal's acting was also memorable, 
and in the fall of the same year that saw its Lon- 
don production these two players brought the new 
play to this country, where it was well received by 
the critics, although the general public wanted a 
happy ending. However, even the public had to 
admit the good points of the play and the acting, 
and so the Kendals retained the piece in their rep- 
ertory for several succeeding seasons here. 

Wheels Within Wheels, a play in three acts by 
R. C. Carton, was produced at the Royal Court 
Theatre in London on May 23, 1899, the cast being 
as follows : 

Lord Eric Chantrell Dion Boucicault. 

Sir Philip Curtoys Eric Lewis. 

Egerton Vartrey T. B. Thalberg. 

The Hon. Mrs. Onslow Bulmer Miss Compton. 

Miss Curtoys Pattie Bell. 

Lady Curtoys Lena Ashwell. 

James Blagden Arthur Bourchier. 

Mr. Carton's play ran at the Court Theatre 
throughout the summer and fall, and in the spring 
of 1901 it was revived at the same house. The 
American rights were secured by Daniel Frohman, 
and on December 1 1, 1899, it was produced at the 
Madison Square Theatre in New York with the 
following cast : 



292 $iapg of tf|e $rejs?ent. 



Lord Eric Chantrell John B. Mason. 

Sir Philip Curtoys Grant Stewart. 

Egerton Vartrey Philip Cunningham. 

The Hon. Mrs. Onslow Bultner . . Hilda Spong. 

Miss Curtoys Eva Vincent. 

Lady Curtoys Grace Elliston. 

James Blagden Robert Hilliard. 

After running for several months at the Madison 
Square, "Wheels Within Wheels" was taken on the 
road, and in the leading American theatres it 
proved as popular as it had become in London and 
New York. 



When Knighthood was in Flower, a drama in 
four acts by Paul Kester based upon Charles Ma- 
jor's well-known romance of the same name, was 
produced at the Olympic Theatre in St. Louis on 
November 16, 1900, the cast being as follows : 

Henry VIII, King of England Charles Harbury. 

Francis D'Angouleme Wilfrid North. 

Thomas Wolsey C. F. Gibney. 

Duke of Buckingham David Torrence. 

Duke de Longueville Edwin Willett. 

Charles Brandon Bruce McRae. 

Sir Edwin Caskoden Donald MacLaren. 

Master Cavendish Frederic Burt. 

Sir Adam Judson Wilfrid North. 

Will Sommers Frank Reicher. 

Captain Bradhurst E. W. Morrison. 

Host Frederic Leslie. 

A priest T. L. Cartwright. 

An officer of the King's Guard James Stuart. 

Servant at the Inn William Charles. 

Officer of ship Royal Hind W. H. Taylor. 

First Adventurer Francis Hayward. 

Second Adventurer J. J. Elwyn. 




JULIA MARLOWE, 

As Mary Tudor, in When Knighthood was in Flower. 



pap£ of tfje ^regent 293 



Queen Katherine of England Annie Clarke. 

Mary Tudor Julia Marlowe. 

Lady Jane Bolingbroke Norah Lamison. 

Mistress Anne Boleyn Claire Kulp. 

Mistress Jane Seymour Ellen Rowland. 

Page Katherine Wilson. 

On January 14, 1901, Mr. Kester's play began 
its New York run at the Criterion Theatre, remain- 
ing there throughout the remainder of the season. 
During 1901-1902 it was played in the leading 
American cities, changes in the cast involving the 
appearance of George S. Christie as Sir Ed-win 
Caskoden, Sydney Toler as the Duke of Bucking- 
ham, Charlotte Crane as Lady Jane Bolingbroke, 
Frances Ring as Mistress Anne Boleyn, and Maud 
Lantry as Mistress Jane Seymour. 

When We were Twenty-One, a play in four 
acts by Henry V. Esmond, was produced at the 
Knickerbocker Theatre in New York on February 
5, 1900, with this cast : 

Richard Carewe N. C. Goodwin. 

Sir Horace Plumley, Bart Neil O'Brien. 

Colonel Miles Graham Frank Gilmore. 

Terrance McGrath Clarence Handyside. 

Richard Terrence Miles Audaine. Henry Woodruff. 

Lord Dungelt Jameson Lee Finney. 

David Hirsch Thomas Oberle. 

The Honorable Gerf aid Carruthers S. M. Hall. 

Herbert Corrie Charles Thorp. 

Hughie Belmont Herbert Ayling. 

Wallis Brundall W. J. Thorold. 

Bobbie Bellew Frank Mayne. 

Momy Allsorts L. E. Woodthorpe. 

19* 



294 $iap£ of tfje ^regent. 



Jacob Rapley Holmes. 

Kara Glynesk Ysobel Haskins. 

Mrs. Grant Gordon Gertrude Gheen. 

Budgie Culpepper Florence Robinson. 

Eileen O'Brien Kathryn Morse. 

Clarice Newton Nina Gregory. 

Winnie Thornton Gertrude Tidball. 

Fleurette Florence Wickliffe. 

Mabel Florence Hayes. 

Cora Agnes Mark. 

Flirt Florence Haverleigh. 

Barmaid Helen Barney. 

Mrs. Ericson Estelle Mortimer. 

Phyllis Ericson Maxine Elliott. 

Mr. Esmond's play proved in many respects the 
best fitted to Mr. Goodwin and Miss Elliott of the 
numerous ones that had been provided for them. 
With the exception of a cheap and unnecessary 
third act, which the dramatist might have cut out 
bodily without in the least injuring the fabric of 
the piece, the play was pure and invigorating, and 
well deserved the success that attended it for two 
seasons while in Mr. Goodwin's repertory. The 
viciousness of the third act militated against the 
drama in some quarters, and critics who would 
otherwise have praised it thought it necessary to 
condemn the whole piece for this one scene. Young 
girls were publicly warned against attending such 
an exhibition of moral depravity, and a play that 
would otherwise have stood as the exponent of all 
that was good and pure in the modern drama 
raised a storm of criticism because its author chose 
to introduce this foreign element into it. That it 
succeeded in spite of this mistake was good proof 
of Mr. Esmond's talents as a playwright. 



$Iap£ of tfje $tc$mt. 295 

After Mr. Goodwin had finished with the play, 
it was given by less prominent players, William 
Morris being one who starred as Richard Carewe. 
Taken to Europe, it proved fairly successful in 
London, and in Copenhagen, a city not noted as 
partial to the English drama, it was received with 
enthusiasm. 

The Wife, a drama of modern life in four acts by 
David Belasco and Henry C. De Mille, was pro- 
duced at the Lyceum Theatre, New York, in No- 
vember, 1887, and ran there through the remainder 
of the season. The cast was as follows : 

John Rutherford Herbert Kelcey. 

Matthew Culver Nelson Wheatcroft. 

Robert Grey Henry Miller. 

Silas Truman Charles Walcot. 

Major Homer Q. Putnam W. J. Le Moyne. 

Jack Dexter Charles S. Dickson. 

Mr. Randolph Walter Bellows. 

Helen Truman Georgia Cayvan. 

Lucile F errant Grace Henderson. 

Mrs. S. Bellamy Ives Mrs. Charles Walcot. 

Kitty Ives Louise Dillon. 

Mrs. Amory Mrs. Thomas Whiffen. 

Agnes Vida Croly. 

"The Wife" was the feature of the Lyceum Com- 
pany's repertory in New York and on the road for 
two seasons. It was received everywhere with de- 
light, and has been revived frequently. It was 
last seen at the Lyceum Theatre in the season of 
1895-1896, but it has been played since then by 
local stock companies in many American cities. 
Nelson Wheatcroft has played John Rutherford, 



296 pap£ of tf>e ^regent. 

and in later performances by the Lyceum Com- 
pany Stephen Grattan appeared as Matthew Cul- 
ver, Walter Hale as Robert Grey, Fritz Williams 
as Jack Dexter, Isabel Irving as Helen Truman, 
Elizabeth Tyree as Lucile Ferrant, and Katherine 
Florence as Kitty Ives. 

"The Wife" was produced at the Theatre Royal, 
Manchester, England, on October i, 1892, under 
the name of "The Senator's Wife." Mr. Kendal 
appeared as John Rutherford, Mrs. Kendal as 
Helen Truman, and J. E. Dodson as Major Homer 
Q. Putnam. 

Yorick's Love, a tragedy adapted from the Span- 
ish by William Dean Howells, was produced in 
Cleveland on October 26, 1878. Its first title was 
"The New Play," and it was prepared by Mr. 
Howells especially for Lawrence Barrett, who 
played the leading role. It became a conspicuous 
feature among his productions, and as Yorick he 
took a great stride forward in his profession. Crit- 
ics who had always regarded him as one who 
worked entirely in the line of theatric tradition and 
who considered that he was to be measured en- 
tirely by traditional standards admitted that at last 
he had stepped from the ranks of delineators and 
stood forth as a creator. Before he had always 
been scholarly, now he was natural, standing on 
his own merits, free from any bias toward any 
other player or ideal. 



$lap£ of rtje ^regent. 297 

On April 14, 1884, Mr. Barrett began a London 
engagement at the Lyceum Theatre with "Yorick's 
Love." Strange to say, in England he won only 
a personal triumph, the play being rather harshly 
treated by the critics, although the impersonation 
of Yorick was praised in many of its details. The 
"Times" said of Mr. Barrett that "he will always 
please, even if he can never deeply stir an audi- 
ence"; the "Post" said that "he appeals more to 
the intellect than the emotional nature" ; and the 
somewhat adverse opinion of the "News" that "his 
calculated efforts and studied effects are too ob- 
vious" is balanced by the dictum of the "Tele- 
graph" that he was "an actor full of magnetism 
and glib of tongue in the Shakespearian drama." 
When the curtain fell on the last act, Barrett was 
recalled several times, and expressed his gratitude 
briefly and modestly. 

In 1895-1896 "Yorick's Love" was revived by 
Lewis Morrison, being presented by him for the 
first time on September 20, 1895, at the Bowdoin 
Square Theatre, Boston. 

Zaza, a drama in five acts adapted by David Be- 
lasco from Pierre Berton and Charles Simon's 
play of the same name, was produced at the La- 
fayette Square Theatre, Washington, on December 
26, 1898. The original version was given in Paris 
with Rejane in the title role. On January 9, 1899, 
"Zaza" was played in New York for the first time 



298 $Iap£ of tfje $re£cnt 



at the Garrick Theatre, and was continued there 
throughout the remainder of the season. The 
principal characters were assigned as follows : 

Bernard Dufrene Charles A. Stevenson. 

Due de Brissac Albert Bruning. 

Cascart Mark Smith. 

Jacques Rigault Hugo Toland. 

Chamblay, Jr Gilmore Scott. 

Joly H. S. Mhlward. 

Rosa Bonne Marie Bates. 

Madame Dufrene Mabel Howard. 

Divonne Lizzie Du Roy. 

Lisette Emma Chase. 

Toto Helen Thill. 

Florianne Anne Sutherland. 

Nathalie Helen Tracy. 

Zasa Mrs. Leslie Carter. 

Mrs. Carter's success as Zasa was unquestioned, 
and for a second season the play was given in the 
leading theatres of the United States. In April, 
1900, with Mr. Belasco and her entire company, 
she sailed for England, and on the 16th of that 
month began a London engagement at the Gar- 
rick which was destined to continue over three 
months. In October, 1900, the third season of 
"Zaza" began at the Criterion Theatre in New 
York, the tour lasting until the following May and 
extending as far west as the Pacific coast. Dur- 
ing these three seasons there were very few 
changes in the cast of characters. 




MRS. LESLIE CARTER, 



As Zaza. 



INDEX 



INDEX 



Abbe, Charles S., 90, 123, 171, Alcazar Theatre, San Francisco, 

249, 269 in 

Abbey, Henry E., 115 Alden, Grace, 289 

Abbey's Theatre, New York, 47, Aldrich, Louis, 45, 80, 132, 191, 

48, 144, 168, 194, 207 192, 246 

Abbott, Marion, 223, 236 Alexander, George, 5, 71, 138, 

Abbott, Mrs., 136 146, 176, 201, 216, 219, 236, 

Abeles, Edward S., 147, 287, 288 241, 274 

Aberle, Eva, 20 Alexis, Mme., 88 

Abingdon, W. L., 252 Alfred Theatre, London, 35 

Academy of Music, Baltimore, 3 Alison, George, 23, 39, 217, 235, 

Academy of Music, Montreal, 275 

129, 144, 265 Alison, Gertrude Rivers, 23, 37, 

Academy of Music, New York, 235 

25, 288 Allan, Charles, 47, 48, 279 

Achard, Frederic, 189 Allcroft, Miss, 144 

Achurch, Janet, 224 Allen, C. Leslie, 27, 105, 137, 

Ackerman, Benjamin, 289 154, 156, 173, 230, 231, 249, 

Across the Atlantic, 130 281 

Adams, Mrs. Annie, 181, 232 Allen, Harry, 62 

Adams, Edwin, 175 Allen, Mrs. J. H., 195 

Adams, Lionel, 24 Allen, Marsh, 233 

Adams, Lizzie, 152 Allen, Viola, 7, 38, 64, 69, 71, 

Adams, Maude, 3, 27, 156, 223, 137, 155, 156, 177, 181, 249, 

232 250, 269, 286 

Addison, Carlotta, 208, 209, 232, Allen, Mr., 162 

268, 274 All the Year Round, 73 

Addison, Fanny. See Fanny Alphonsine, Mme., 189 

Addison Pitt Alsop, M. L., 243, 244 

Addison, Mr., 144, 164 Amazons, The, 3, 4, 5, 170 

Adelman, Joseph, 120 Ambassador, The, 5, 6, 7 

Adelphi Theatre, London, 15, 60, Amber, Mabel, 235, 279 

68, 126, 174, 17s, 224, 226, Amberg's Theatre, New York, 

227, 228, 244, 245 222 

Adler, Adeline, 38 Ambigu Comique, Paris, 17, 59 

Adventure of Lady Ursula, The, American Theatre, New York, 

1, 2 90 

Adye, Oscar, 242 Ames, Amy, 92, 117, 238 

Ahrendt, Carl, 140 Amsterdam, 222 

Aickin, Eleanor, 216 Anderson, Jennie, 107 

Aiglon, L', 3 Anderson, Louis, 277 

Albany, N. Y., 63, 84, 85, 94, Anderson, Mary, 137 

197, 198, 228 Anderson, P. A., 281 

Empire Theatre, 63, 94, 197 Andrews, Adora, 10 

Harmanus Bleecker Hall, 85 Andrews, A. G., 14, 29, 76, 86, 

Albaugh, J. W., 162 161 

Albee, Portia (Little Portia), 92 Angelo, C, 121 

Albery, James, 107, 108 Angel of Midnight, 118 

Albion, Louis, 20 Anglin, Margaret, 76, 184 
301 



3° 2 



Slnfcej;, 



Anson, G. W., 46, 71, 227 
Applebee, J. K., Jr., 93 
Arbuckle, Maclyn, 127, 287, 288 
Arch Street Theatre, Philadel- 
phia, 229 
Archer, Belle, 159 
Archer, Frank, 200 
Archer, Herbert, 159 
Archer, J., 162 
Archer, William, 13, 26, 36, 221, 

241, 242 
Arden, Edwin, 3, 30, 31, 162, 

231, 243, 249 
Aristocracy, 7, 8, 
Arizona, 9, 10, n, 12 
Arlesienne, L', 8, 9 
Arlington, May, 101 
Arms and the Man, 12, 13, 14, 

86 
Armstrong, Harrison, 127, 226 
Armstrong, John, 69, III, 159 
Armstrong, Sidney, 120, 121 
Arnold, Matthew, 235 
Arrah-na-Pogue, 14, 15, 16, 17, 

248 
Arthur, Charles, 218 
Arthur, Julia, 137, 144, 147 
Arthur, Paul, 7, 233, 27s 
Article 47, 17, 18, 19 
Arundel, W., 225 
Ashwell, Lena, 143, 183, 227, 

291 
Astley, Robert, 131 
At the White Horse Tavern, 19, 

20, 21, 22 
Athelstone, Edith, 10 
Atkins, Louis, 171 
Atkinson, Miss, 263 
Atwell, Grace, 155, 250 
Atwell, Roy, 127 
Aubrey, Kate, 200 
Augier, Emile, 58, 130, 132 
Aveling, Henry, 106 
Aventuriere, L', 130, 132 
Avenue Theatre, London, 12, 178 
Avery, Charles, 84 
Ayling, Herbert, 133, 278, 293 
Ayling, W. L., 262 
Aynesworth, Allen, 166, 240, 

289 



Bachelor's Romance, A, 22, 23, 

24 
Bachus, E. Y., 69, 158, 181, 184 
Bachus, George, 140, 159, 289 
Bailey, G. W., 250 
Baird, Dorothea, 279 
Baird, Miss, 276 



Baker, Lewis, 27, 124, 151, 227, 

240 
Balsillie, David, 33 
Baltimore, Md., 3, 76, 113 

Academy of Music, 3 
Balzac, Honore de, 6 
Bancroft, G., 216 
Bancroft, S. B., 50, 51. 109, 174, 

204, 208, 212 
Bancroft, Mrs. (Marie Wilton), 

Si, 88, 109, no, 174, 204, 205, 

208, 213 

Bandmann, Daniel E., 61, 94 
Bandmann, Mrs. Daniel E. 

(Millicent Palmer), 61 
Bangs, Frank C, 113, 117 
Banks, Maude, 137 
Barbara Frietchie, 24, 25 
Barber, Grace, 95 
Barbier, George W., 113 
Barker, Mary E., 270 
Barnes, J. H., 226, 231, 259, 260 
Barnett, Orlando, 12 
Barnett, Miss, 201 
Barney, Helen, 294 
Barnum's Museum, New York, 

261 
Barrett, George, 152, 254, 256 
Barrett, Lawrence, 83, 116, 17s, 

230, 296, 297 
Barrett, Wilson, 152, 153, 227, 

252, 253, 254, 255, 256 
Barrie, J. M., 156, 157, 220, 221, 

223 
Barriere, Theodore, 108, 174 
Barrington, Miss, 147 
Barron, Charles, 61, 80, 89, 92, 

118, 132, 136, 149, 171, 173, 

209, 212, 231, 257 

Barrow, Julia Bennett, 176, 262 
Barrows, James O., 120, 121, 

250, 288, 289 
Barry, Eleanor, 127 
Barry, Helen, 149, 150 
Barry, Shiel, 16, 247 
Barry, Thomas, 136 
Barry, Mrs. Thomas, 118, 281 
Barrymore, Ethel, 57, 152, 232 
Barrymore, Georgie Drew, 246 
Barrymore, Lionel, 10, 240 
Barrymore, Maurice, 32, 40, 48, 

125, 126, 141, 147, 211, 243, 

249 
Bartlett, Bertha, 218 
Barton, James T., 71 
Barton, Miss M., 151 
Bascomb, H. L., 172, 262 
Bass, J. Alden, 288 
Batchelder, Josie, 210 



Sinter. 



3°3 



Bateman, H. L., 35, 144 
Bateman, Isabel, 144, 163, 276 
Bateman, Jessie, 170 
Bateman, Virginia Frances, 161 
Bates, Blanche, 122, 165, 166, 

287, 288 
Bates, Mrs. F. M., 287 
Bates, Marie, 165, 196, 298 
Batten, Frank, 225 
Bauble Shop, The, 25, 26 
Bayly, Mary, 287 
Bean, Morel, 278 
Beardsley, Aubrey, 46 
Beattie, Aubrey, 140 
Beau Brummel, 27, 28 
Beaucaire, 28, 29 
Beauchamp, J., 4, 152 
Beaumont, A., 134 
Beaumont, Muriel, 240 
Bebus, M. D., 281 
Because She Loved Him So, 30, 

31, 32 
Beckett, Harry, 53, 55, 103, 209 
Becky Sharp, 32, 33, 34 
Bedford, Henry, 16 
Bedford, Paul, 174 
Beekman, W., 91, 117, 172, 213, 

259 
Beere, Mrs. Bernard, 109, no, 

259, 264 
Belasco, David, 9, 62, 63, 95, 96, 

120, 125, i59i 165, 166, 295, 

297, 298 
Belasco, Walter, 96, in 
Belcher, B. B., 133 
Belgarde, Adele, 106 
Bell, Charles J., 249 
Bell, Edward M., 147, 269 
Bell, Hamilton, 170 
Bell, Harry, 271 
Bell, Pattie, 216, 291 
Bellamy, George, 233 
Bellew, Kyrle, 139, 257 
Bellows, Walter C, 62, 268, 295 
Bells, The, 34, 35 
Belmore, George, 144 
Belmore, Mr., 143 
Belot, Adolphe, 17, 18 
Belton, Mr., 262 
Benefit of the Doubt, The, 36, 

37, 38, 216 
Ben Hur, 38, 39 
Bennett, Gage, 152 
Bennett, Johnstone, 5, 27, 188 
Bennett, Josephine, 278 
Benrimo, J. H., 69, in, 112, 
„ 137. 158 
Benson, Ruth, 55 
Bergen, Thurlow, 192 



Bergere, Valerie, 167 
Bergman, Henry, 126, 24s 
Beringer, Esme, 36 
Beringer, Mrs. Oscar, 40, 41 
Berkeley, Ruth, 20 
Berlin, 27, 72, 119, 167, 279 

Lessing Theatre, 27, 119, 167 

Royal Schauspiel Haus, 72 

Thalia Theatre, 279 
Bernard, Bayle, 229 
Bernard, Charles de, 260 
Bernard, Frank, 71 
Bernard, Vivian, 140 
Bernhardt, Sarah, 3, 76, 118, 

139, 168, 272, 273 
Beroldo, Judith, 252 
Bert, Mlabel, 10, 38 
Berthelet, Arthur, 29 
Berton, Paul, 150 
Berton, Pierre, 88, 272, 273, 297 
Big Bonanza, The, 39, 40 
Bijou Theatre, New York, 65, 

66, 185 
Billington, John, 68 
Billington, Mrs., 61, 69 
Bindley, Gertrude, 236 
Bindloss, F. C, 224 
Bingham, Amelia, 20, 21, 22, 65, 

66 
Birmingham, Eng., 16, 82, 222 

Prince of Wales's Theatre, 82 

Princess's Theatre, 16 
Bishop, Alfred, 79, 150, 151, 

231, 268, 282 
Bishop, Charles B., 159 
Bishop, Kate, 131 
Bishop, Trevor, 290 
Bisson, Alexandre, 30 
Bit of Old Chelsea, A, 40 
Bizet, Georges, 9 
Black, Katherine, 165 
Black Sheep, A, 164 
Blair, Eugenie, 137 
Blair, John, 226 
Blaisdell, J. W., 210 
Blake, George, 249 
Blake, W. R., 202 
Blake, Mrs. W. R., 73, 195 
Blakeley, Alfred, 90 
Blakeley, W., 107, 264 
Blakeston, Clarence, 240, 28s 
Blanchard, Kitty. See Mrs. Mc- 

Kee Rankin 
Bland, Humphrey, 124, 125 
Bland, Lionel, 225 
Blandick, Clara, 133 
Blatchley, W. E., 182 
Bleak House, 203 
Blinn, Holbrook, 55, 56 



304 3l«te£, 



Block, Adele, 39, 186 Bourne, Margaret, 113 

Block, Sheridan, 246 Bowdoin Square Theatre, Bos- 

Bloodgood, Clara, 66, 70 ton, 207 

Blumenthal, Oscar, 20, 27, 222 Bowen, Minnie, 7 

Blyth, Mary, 24 Bowers, Mrs. D. P., 147, 173 

Boardman, C. E., 171 Bowery Theatre, New York, 196 

Boker, George Henry, 115 Bowne, Josie, 149 

Bond, Frederic, 8, 20, 22, 170, Box and Cox, 41, 42, 43, 44 

247 Boyle, F., 225 

Boniface, George C., 66, 196, Boyle, John F., 289 

231, 249, 276 Boyne, Leonard, 36 

Boniface, Stella, 114 Bozenta, Count, 168 

Bonney, W. E., 138, 253 Bradbourne, J., 121 

Booth, Agnes, 9, 48, 54,62, 132, Bradford, J. B., 118 

142, 230, 259 Bradley, H. B., 243 

Booth, Edwin, 162, 175, 229 Bradley, Malcolm, 133 

Booth, John Wilkes, 176 Bradley, Mr., 261 

Booth, Junius Brutus, 229 Brady, Miss, 252 

Booth, Junius Brutus, Jr., 141 Braham, Harry, 245, 246 

Booth, Mrs. J. B., Jr. See Braham, Leonora, 30 

Agnes Booth Brandon, Olga, 290 

Booth, Sydney, 23, 236 Brandon, Mr., 134, 138, 259, 264 

Boston Brandt, Edwin, 278 

Boston Museum, 17, 43, 53, Branscombe, W. L., 32, 34, 162, 
S4i 55> 61, 80, 89, 92, 93, 218, 233, 269, 270 

102, 103, 107, 108, 118, 129, Brennan, Joseph, 95, 243, 271 

132, 149, 154, 155, 156, 171, Brent, Eva, 103 

173, 188, 201, 209, 210, 212, Brereton, Miss, 259 

231, 244, 248, 249, 250, 257, Breyer, Mrs. Mary, 251 

262, 268 Bridgeland, T. B., 226 

Boston Theatre, 54, 94, 104, Bridgman, 261 

105, 161, 173, 230, 262, 281 Brighton, 239 

Bowdoin Square Theatre, 297 Briscoe, Miss, 86 

Castle Square Theatre, 112 Bristol, Eng., 265 

Colonial Theatre, 29, 39 Brittain, Meta, 243, 244 

Columbia Theatre, 147 Broad Street Theatre, Philadel- 

Globe Theatre, 54, 103, 188, phia, 1, 24, 243 

212, 239 Broadway Theatre, New York, 

Hollis Street Theatre, 266, 9, 38, 43, 52, 80, 115, 136 

288 Brooke, Mrs. Charles W., 183 

Howard Athenaeum, 53, IQ 6, Brooke, Cynthia, 151, 194, 242 

197, 262 Brooke, E. H., 162 

National Theatre, 196, 197 Brooke, Mrs. E. H., 141, 180, 

Park Theatre, 14, 89, 225, 182 

236, 277, 278 Brooke, Sarah, 151, 180 

Selwyn's Theatre, 54, 118, 132 Brookfield, Charles, 47, 109, 141 

Tremont Theatre, 22, 144, 220 Brooklyn, N. Y., 52, 103, 282 
Bcswell, Gertrude, 253 Brooklyn Theatre, 103, 282 

Boucicault, Aubrey, 117, 185, Brooks, Myra, 29 

249 Brookyn, May, 97, 147 

Boucicault, Dion, 14, 15, 17, 48, Brothers, Edna, 128 

66, 67, 68, 73, 74, 147, 148, Brough, Lionel, 46, 78, 278, 279 

149, 160, 161, 162, 194, 195, Brough, Margaret, 121 

228, 229, 247, 248, 249, 291 Brough, Mary, 121 

Boucicault, Dion, Jr., 145, 233, Brough, Sidney, 206, 221, 223 

276 Brough, Mi., ioi 

Boucicault, Louise Thorndike, Brougham, John, 15, 102, 176, 

123, 249 203, 211, 214, 215, 262 

Bourchier, Arthur, 145, 291 Brown, Miles, 36 



Sfnfctf. 



3°s 



Brown, Willa, 100 
Browne, George, 172 
Browne, J. S., 262 
Browne, Pattie, 4, 275 
Browning, Frank, 287 
Brownlee, Frank, 69, 150, 184 
Bruce, Arthur, 287 
Bruning, Albert, 165, 287, 298 
Brunton, Miss E. Spencer, 151 
Brutone, Mrs. Julia, 27 
Bryant, Charles, 11 1 
Bryant, George E., 1, 181 
Buchanan, Robert, 139, 256 
Buchanan, Virginia, 95, 118, 235 
Buckland, W., 37, 157 
Buckley, Edward J., 104, 136 
Buckley, May, S7» *n» 112 
Buckley, Miss, 143 
Buckstone, J. B., 42, 67 
Buckstone, J. B., Jr., 27 
Buckstone, T. C., 166 
Buckstone, Lucy, 224 
Buckstone, Rowland, 1, 98, 133, 

159, 160, 218, 266 
Budd, Charles, 192 
Buffalo, N. Y., 84, 129, 139, 

251 

Star Theatre, 129, 139, 251 
Buhler, Richard, 225 
Buist, Scott, 169 
Bulgaria, 12, 14 
Bulwer-Lytton, Edward, 100, 

230 
Bunch of Violets, A, 44, 45, 46, 

47 
Bunney, J. H., 289 
Burbeck, Frank, 84, 250 
Burke, Charles, 228, 229 
Burke, lone, 101, 131, 195 
Burke, T. H., 236 
Burnand, F. C, 35, 60 
Burne, Arthur, 179 
Burnet, G., 68 
Burnett, J. G., 201 
Burnett, J. H., 18, 54, 91, 172, 
_ 191 

Burnett, Mrs., 154, 155 
Burnley, Mr., 169 
Burns, Ella, 92 
Burrill, Mrs., 176 
Burroughs, Claude, 282 
Burroughs, Marie, 48, 97, 141, 

183, 220, 222 
Burrows, James, 92, 93, 171, 209 
Burt, Fanny I., 133 
Burt, Frederic, 292 
Burton, Blanche, 151, IS9 
Burton, Miss C, 254 
Burton, William E., 261 

20 



Burton's Theatre, New York, 

261, 262 
Busby, Amy, 13, 243, 244 
Busby, Georgia, 125 
Busley, Jessie, 70 
Butler, Alice, 279 
Butler, Belle, 92 
Butler, Charles W., 71, 234, 277 
Butler, Nellie, 20 
Butterfield, W. E., 270 
Byron, Arthur, 10, 27, 151, 227, 

232, 283 
Byron, Henry J., 207, 208 
Byron, I., 36, 206 

Cabotins, Les, 6 
Cahill, W. B., 101 
Caigniez, Mons., 163 
Caine, Hall, 63 
Caldwell, Marianne, 4 
Caldwell, Miss, 222 
Calhoun, Eleanor, 193 
Calice, Myron, 64, 226 
California Theatre, San Fran- 
cisco, 281 
Calmettes, M., 3 
Calvert, Mrs. Charles, 12, 233 
Cambridge, Eng., 165 
Cameron, Beatrice, 13, 86, 94, 

187 
Cameron, Rhoda, 7, 49, 113 
Camp, Robert L., 226 
Campbell, Bartley, 191 
Campbell, Nellie, 242, 260 
Campbell, Norman, 156 
Campbell, Mrs. Patrick, 168, 169, 

176, 177, 180, 193, 194, 241, 

242 
Cane, Harry, 182, 183, 220, 221 
Cane, Mrs. Harry, 221 
Canfield, Charles, 279 
Cape, Fred, 169 
Captain Swift, 47, 48 
Caravoglia, C. F., 193, 194 
Carew, James, 66 
Carey, Eleanor, 96 
Cargill, May, 122 
Carhart, James L., 29 
Carleton, H. G., 96 
Carleton, Royce, 220, 221, 257 
Carlisle, Sybil, 240 
Carlton, Lloyd, 234 
Carlyle, Francis, 31, 159, 231, 

247, 287, 288 
Carne, Joseph, 109, 139, 180, 

193 
Carnegie Lyceum, New York, 

129 
Carpenter, Ethel, 288, 289 



306 



Slnbejt. 



Carpenter, Louis, 126 

Carr, Gretta, 57 

Carr, Herbert, 227, 279 

Carr, J. Comyns, 142, 258 

Carrington, Reginald, 241 

Carson, Murray, 88, 231 

Carter, Estelle, 128 

Carter, Evelyn, 217, 235 

Carter, Mrs. Leslie, 95, 96, 123, 

126, 166, 298 
Carter, R. Peyton, 156, 168, 223 
Carton, R. C, 145, 158, 273, 

274, 275, 291 
Cartwright, Charles, 258, 259 
Cartwright, T. L., 71, 292 
Carvill, Henry J., 133 
Cary, Mary, 55, 91, 149, 239 
Casa Paterna. See Magda 
Case of Rebellious Susan, The, 

49. 50 
Caskie, Margaret B., 134 
Castano, Edward, 277 
Caste, 50, 51, 52, 53, 54, 55, 130 
Castle Square Theatre, Boston, 

112 
Cat and the Cherub, The, 55, 56 
Cathcart, Maud, 131, 200 
Cathcart, R., 138, 200, 206, 222 
Cathcart, W. M., 128, 129, 207 
Catherine, 56, 57, 58, 59 
Cause Celebre, Une, 59 
Cautley, Laurence, 220 
Cavania, Marjorie, 253 
Cavendish, Ada, 131 
Caverly, Anne, 122 
Cayvan, Georgia, 5, 62, 63, 268, 

295 
Cazauran, A. R., 45, 61 
Cecil, Arthur, 79, 88, 169 
Celebrated Case, A, 59, 60, 61, 

62 
Celeste, Mme., 174, 175 
Century Magazine, 56 
Chambers, Haddon, 47, 135, 282, 

283 
Chambers, Kathleen, 29 
Chamblin, Jean, 32 
Champion, Stuart, 36 
Chandler, Henry S., 251 
Chanfrau, Henrietta, 52, 53, 54 
Chapman, Edythe, 117 
Chapman, F., 91 
Chapman, John Kemble, 67 
Chapman, Patty, 290 
Chapman, Sam, 67 
Chapman, Mrs. W. A., 73 
Chapman, William B., 43, 229 
Chapman, Mrs., 67 
Charity Ball, The, 62, 63 



Charles, William, 292 

Charles I, 35, 144, 145 

Charleston, S. C, 262 

Chase, Emma, 298 

Chase, Harry E., 90 

Cherry, Charles, 119 

Chester, Dorothy, 29 

Chester, Edith, 241 

Chester, Elsie, 270 

Chestnut Street Opera House, 
Philadelphia, 38, 76 

Chestnut Street Theatre, Phila- 
delphia, 92, 135, 234 

Chevalier, Albert, 169, 264 

Chicago, 2, 9, 11, 39, 101, 137, 
192, 225, 245 

Chicago Opera House, 245 
Columbia Theatre, 101 
Hamlin's Grand Opera House, 

9 
Hooley s Theatre, 192 
McVicker's Theatre, 225 

Childers, Marion, 227 

Chippendale, W. H., 131 

Chippendale, Mrs., 161 

Christian, The, 63, 64, 65 

Christie, George S., 293 

Christmas Carol, A, 178 

Chudleigh, Arthur, 3 

Churchill, Winston, 227 

Cincinnati, Ohio, 229, 262 

City Theatre, London, 67 

Clair, George, 239 

Claire, Adele, 29 

Clare, Ada, 176 

Clark, Holman, 46, 279, 285 

Clark, J. W., 165 

Clark, Lois Frances, 84, 85 

Clark, Mr., 68 

Clarke, Annie, 24, S3. 55. 61, 8°. 
89, 92, 118, 132, 149, 155, 156, 
171. T 73> 201, 210, 212, 231, 
249, 257, 269, 293 

Clarke, Creston, 35, 83, 136 

Clarke, C. W., 261 

Clarke, George, 53, 79, 117, 190, 
191, 213, 261, 285 

Clarke, John, 204 

Clarke, Wilfred, 122 

Claxton, Kate, 118, 172, 280, 
281, 282 

Clayton, John, 79, 88, 169, 186, 
187 

Clement, Clay, 35 

Clements, Frank, 161 

Cleveland, Ohio, 296 

Clews, Walter, 198 

Clifton, William F., 22s 

Clifton, Mr., 263 



Sfnbej:. 



3°7 



Climbers, The, 65, 66 

Clinton, Mr., 201 

Clitherow, Maude, 152, 254 

Cluer, Susie, 210 

Cluny Theatre, Paris, 34 

Coad, Henry, 175 

Cochrane, Richard, 113 

Cody, Martin F., 140 

Coggswell, W. J., 80 

Coghlan, Charles, 45, 53, 109, 

174, 269 
Coghlan, Gertrude, 33 
Coghlan, Rose, 89, 114, 115, 249 
Cohasset, Mass., 84 
Coleman, Fanny, 119, 145, 146, 

147, 240, 286, 290 
Coleman, John, 163, 164 
Coleman, Thomas L., 155, 249, 

269 
Coleridge, Miss, 200 
Colfax, Frank, 24 
Colleen Bawn, The, 15, 66, 67, 

68, 69 
Collegians, The, 66, 67 
Collett, Mr., 34, 162 
Collier, Constance, 71 
Collier, Edmund, 38, 103 
Collier, Tames W., 107 
Collier, Lizzie Hudson, 245 
Collins, Charles M., 140 
Collins, John J., I, 218 
Collins, J. Palmer, 29 
Collins, Wilkie, 18, 64, 65, 172, 

'73 
Colonial Theatre, Boston, 29, 39 
Columbia Theatre, Boston, 147 
Columbia Theatre, Chicago, 101 
Colville, J. M., 279 
Coman, Morgan, 227 
Comedy Theatre, London, 36, 

158, 221, 244, 270 
Compton, Henry, 208, 209 
Compton, Miss, 145, 146, 158, 

161, 291 
Compton, Mr., 131 
Comstock, Frances, 70 
Comstock, Nannette, 193, 250, 

251 
Conger, Frederick, 279 
Conniers, Norman, 133 
Conover, S., 233 
Conover, W., 43 
Conquerors, The, 69, 70, 71 
Conquest, Ida, 30, 31, 37, 177, 

181, 227, 241, 271, 283, 286 
Constantine, W. J., 30 
Convere, Sara, 171 
Converse, Sarah, 223 
Conway, F. B., 136, 176, 28s 



Conway, Mrs. F. B., 176, 285 

Conway, Hart, 92 

Conway, Lillian, 54, 104 

Cook, Augustus, 9, 32, 78 

Cook, Dutton, 150 

Cooke, A., 152 

Cooke, George, 23 

Ccoke, John Frederick, 159 

Cooke, Madge Carr, 66 

Cooke, Stanley, 79 

Cooke, Miss, 67 

Cooper, Clifford, 254 

Cooper, Frank, 143 

Cooper, George, 185 

Cooper, H., 260 

Cooper, Leonard, 96 

Coote, Charles W., 152, 153, 254 

Copenhagen, 295 

Coquelin, Constant, 3, 35, 75, 76 

Coquelin, Jean, 75 

Cormon, Eugene, 60, 279 

Corr, James P., 20 

Corngan, Emmett, 38, 39 

Cortellyou, Alida, 253 

Cosham, 36 

Cotton, Robert, 27 

Cottrelly, Mathilde, 278 

Couldock, C. W., 73, 162, 201, 

204 
Coulter, Frazer, 89, 93 
Countess Valeska, The, 71 
Country Lasses, The, 135 
Courier of Lyons, The, 164 
Courier of Naples, The, 163 
Courrier de Lyon, Le, 162, 163 
Court Theatre, London, 3, 4, 41, 

78, 169, 200, 233, 239, 275, 

289, 291 
Courtenay, Frederick, 133 
Courteney, William, 7, 76, 86, 

146, 277 
Courtleigh, William, 217, 219, 

275. 276 
Coutts, Compton, 4 
Covent Garden Theatre, London, 

199 
Coverly, Anne, 171 
Cowell, Florence, 139 
Cowell, Sydney, 29, 211, 259, 

260 
Cowle, Miss, 134 
Cowper, John C, 54 
Coyne, J. E., 90 

Craddock, Nannie, 206, 220, 221 
Craig, Ailsa, 144 
Craig, Charles, 38 
Craig, C. B., 238 
Craig, C. G., 63 
Craig, E. G., 101 



3 o8 



Wittier. 



Craig, John, 41, 231, 270 
Crane, Charlotte, 293 
Crane, Edith, 171, 279 
Crane, William H., 84, 85, 101, 

102, 104, 126, 127, 245, 246 
Craven, Walter, 9 
Crawford, Edna, 266 
Crawford, Francis Marion, 137 
Creighton, Bertha, 23 
Crellin, H., 34 
Cricket on the Hearth, The, 73, 

74, 75 
Cripps, Herbert A., 103 
Crisis, The, 95 

Crisp, Henry, 18, 91, 191, 201 
Crisp, W. H., 55, 149 
Criterion Theatre, London, 25, 

49, 107, 145, 150, 151, 207, 

231, 264, 282 
Criterion Theatre, New York, 

24, 49, 95, 119, 158, 293, 298 
Crofton, Cecil, 182 
Croly, Vida, 295 
Crompton, W. H., 37, 69, 158, 

177, 181, 184, 286 
Crosman, Henrietta, 137, 185 
Crown, Rachel, 113, 134 
Croydon Theatre Royal, 33 
Cubitt, Clara, 266 
Cudmore, Angela, 47 
Cullen, Rose, 248 
Cummings, W. J., 250 
Cummins, Nellie, m 
Cunningham, Philip, 292 
Cunningham, Mr., 261 
Currier, Frank J., 226 
Curtis, George H., 249 
Curtis, W. H., 262 
Cuthbert, Miss, 174 
Cyrano de Bergerac, 75, 76, 77 

Dacre, Arthur, 134, 135, 141 

Dade, Charles, 115 

Daily, John, 106, 191 

Dalbert, Mons., 189 

Dale, F., 240 

Dale, Margaret, 184 

Dallas, Mervyn, 94 

Dalton, Charles, 253 

Dalton, Marie, 247 

Dalton, R„ 216 

Daly, Arnold, 24, 30, 31, 271 

Daly, Augustin, 18, 19, 39, 40, 
52, 76, 91, 117, 118, 122, 123, 
124, 125, 171, 172, 173, 190, 
191, 210, 211, 212, 213, 238, 
246, 247, 283, 284, 285 

Daly, H. F, 17, 68, 239 

Daly, Marie, 150 



Daly, Martin, 71 

Daly's Theatre, New York, 7, 

79, 122, 123, 146, 170, 171, 210, 

246, 259 
Damala, J., 138 
Damer, Frank, 122 
Dancing Girl, The, 77, 78 
Dandy Dick, 4, 78, 79, 80 
Dangerous Friend, A, 148 
Daniels, Mr., 138 
Danites, The, 80, 81, 82 
Danvers, Charles, 121 
Danvers, Mr., 260 
Dark, Stanley, 185, 288 
Darley, Brian, 254 
Darrell, A., 224 
Daudet, Alphonse, 8, 9 
Davenport, A. H., 73, 107, 195, 

285 
Davenport, Edgar L., 80, 89, 

i37t 249, 257, 269 • 
Davenport, Edward L., 115, 136, 

160, 196, 197, 213, 263 
Davenport, Mrs. Edward L., 53, 

160, 173, 263 
Davenport, Fanny, 18, 39, 53, 

91, 100, 117, 172, 190, 211, 

212, 213, 238, 273 
Davenport, May, 171, 257 
Davenport, N. T., 262 
Davey, Thomas, 106 
David Garrick, 50, 82, 83 
David Harum, 83, 84, 85 
Davidge, William, 18, 39, 52, 53, 

91, 117, 172, 211, 213, 238 
Davidson, Dore, 20, 94 
Davies, H. Rees, 281 
Davies, J. H., 289 
Davies, Phoebe, 288 
Davis, Fay, 6, 216, 274 
Dawson, &., 263 
Dawson, Ivo, 216 
Dawson, Stewart, 109 
Day, W. D., 25 
Day, William H., 166 
Day, Mr., 138 
Dayne, Helen, 171, 249 
Dayton, Frank, 250 
Dean, John, 238 
Dean, Julia, 136 
Dean, Ralph, 31 
Dean, Will, 84 
Deane, Charlotte, 133 
Deane, H., 242, 290 
Deane, Mr., 169 
Deaves, Rillie, 238 
De Barrie, Ray, 98 
De Becker, Harold, 179 
De Belleville, Frederic, 270 



Sfn&ejt. 



3°9 



Decker, Nelson, 281 
Decourcelle, Pierre, 245 
Delacour, Mons., 163, 206 
Delaro, Dickie, 246 
Delavigne, Casiroir, 160 
Delmar, Robert, 225 
Delmore, Ralph, 251, 252, 271 
De Mille, Henry C, 62, 159, 

295 
Demi-Monde, he, 45 
Denham, George W., 22 
Denison, A. M, 289 
Denison, M., 200, 260 
Denny, Reginald, 145, 233 
Denny, W. H., 79 
Denny, Mr., 264 
Denver, Colo., 185 
Derickson, Marie, 151 
De Silke, V. M., 278 
Desjardins, Mons., 3, 75 
Deux Orphelines, Les, 60, 280 
De Vere, George F., 84, 91, 117, 

238, 245 
Devere, Henry, 38 
De Verney, Mr., 134, 187, 264 
Devil's Disciple, The, 85, 86, 87, 

88 
De Walden, Thomas B., 162 
De Winton, Alice, 151 
De Wolfe, Elsie, 27, 37, 57, 177 
Dibdin, Miss, 219 
Dickens, Charles, 73, 74, 178, 

274 
Dickinson, G. K., 176 
Dickson, Charles, 295 
Dickson, Mrs. Georgia, 64 
Dietrichstein, Leo, 20, 22, 278 
Dietz, Linda, 18, 91, 134, 13s, 

138, 172, 173, 238 
Dieudonne, Mons., 88 
Dillon, Charles, 161 
Dillon, Louise, 268, 295 
Dillon, R. J., 64 
Dills, Margaret, 29 
Diplomacy, 88, 89, 134 
District Attorney, The, 89, 90 
Dithmar, Edward A., 239, 284 
Divorce, 91, 92, 93 
Divorcons, 33 

Dixey, Henry E., 103, 198, 247 
Dr. Jekyll and Mr. Hyde, 28, 93, 

94 
Dodd, Jessie, 236 
Dodge, Edward, 198 
Dodson, J. E., 27, 30, 31, 37, 

139. 177. 181, 242, 260, 286, 
296 

Dodsworth, C, 206, 221 
Dolan, Winifred, 6, 274 

20* 



Don Ccesar de Bazan, 94 

Don C&sar's Return, 94, 95 

Donnelly, Edward, 95, 235 

Doone, Neville, 152, 254 

Dora, 88 

Dorothy, 135 

Dorr, Dorothy, 250 

D'Orsay, Laurence, 234 

Dot, 73 

Douglas, Ethel, 220 

Douglas, Kenneth, 231 

Dove Cote, The, 30 

Downing, Robert, 83, 136 

Downing, William, 227 

Doyle, A. Conan, 251, 265 

Draper, Louise, 122 

Draycott, Mr., 264 

Dreher, Virginia, 170, 246 

Drew, I. N., 244 

Drew, John, 26, 27, 39, 40, 79, 

151, 152, 170, 210, 211, 227, 

228, 232, 240, 246, 247, 259, 

283 
Drew, Louise, 241 
Drew, Miss, 219 
Drouet, Robert, 64, 139 
Druce, Hubert, 253 
Drummond, Mr., 134 
Drury Lane Theatre, London, 

121, 160, 247, 248, 263 
Du Barry, 95, 96 
Dublin, 163 
Duck, William, 186 
Duke of York's Theatre, London, 

2, 64, 166 
Dumaine, Mons., 60 
Dumas, fils, Alexandre, 6, 45, 

49, 58, 109, 190 
Du Maurier, George, 193, 277 
Du Maurier, Gerald, 275, 279 
Dunbar, Jennie, 78 
Dunn, Bessie, 64 
Dunn, James C, 101 
Dupont, W., 84 
Dupree, Minnie, 66, 126, 289 
Durand, Charlotte, 168 
Dure, Michael, 121 
Duse, Eleanora, 168, 242 
Duval, Louis, 244 
Duvall, Rankin, 167, 288 
Dyas, Ada, 53, 55, 190. 191 
Dyas, Mr., 34 
Dyott, John, 263 

Earle, Mattie, 10 
East, James, 242 
Eastlake, Miss, 152, 254 
Eaton, Elwyn, 251 
Eaton, Herbert, 71 



3io 



fnfcej:. 



Eddinger, Lawrence, 90 Esmond, Henry V., 5, 182, 216, 

Eddinger, Wallie, 120 274, 293, 294 

Edeson, Robert, 10, 37, 65, 136, Ethel, Agnes, 117, 173, 213 

158, 177, 185, 286 Eugene Aram, 99, 100, 101 

Edgar, E. F., 100, 144, 263 Eustace, Jennie, 138 

Editha's Burglar, 155 Evangeline, 101, 102, 103, 104 

Edwardes, Paula, 122 Evans, Patrick, 279 

Edwards, Eugenie, 132 Everard, Mrs., 247 

Edwards, Frank, 114 Everill, F., 109 

Edwards, Harry, 89, 97, 114, Eversfield, H., 79, 169 

191, 281 Evesson, Isabel, 80, 89, 93, 108, 

Edwards, John G., 234 257 

Edwards, Samuel, 10 Eville, William, 235, 277 

Edwin, Mrs. Sophie, 281 Exiles, The, 104, 105, 106 

Eillson, Elaine, 5, 243 Eyre, Gerald, 114 

Eily O'Connor, or The Foster Eytinge, Harry, 78 

Brother, 67 Eytinge, Rose, 124, 28s 
Elaine, 97 

Eldridge, Charles, 30 Faille, Mons., 60 

Eldridge, Lillian, 66, 80 Fairfax, Lettice, 29 

Eliot, A., 151 Falconer, Edmund, 69 

Eliscu, Fernandu, 94 Falkland, Arthur, 93 

Ellice, Blanche, 290 Falsche Heilige, 222 

Elliot, Mr., 109 Fanchon, 106, 107 

Elliott, Agnes, 114 Far front the Madding Crowd, 

Elliott, Gertrude, 146, 192, 233 258 

Elliott, Maxine, 192, 220, 294 Farnum, William, 39 

Elliott, Robert, 39, 235 Farr, Florence, 12 

Elliott, W. A., 253 Fatal Card, The, 135 

Elliott, Mr., 4 Fate of Eugene Aram, The, 100 

Elliston, Grace, 7, 287, 292 Faversham, William, 8, 37, 69, 

Ellsler, Erne, 25 158, 159, 177, 286 

Elmer, David, 20 Fawcett, George, 90, 156 

Elmo, Monta, 278 Fawcett, Owen, 1, 18, 39, 91, 

Elton, E. W., 67 266 

Elwyn, J. J., 292 Fax, Reuben, 48, 251, 278, 279 

Emery, Pollie, 146, 276 Fayre, Mr., 169 

Emery, Samuel, 16 Fealy, Margaret, 225 

Emery, Samuel A., 61, 260 Fealy, Maude, 225, 252 

Emery, Winifred, 36, 147, 158, Featherbrain, 107, 108 

201, 285 Fechter, Charles, 174 

Empire Theatre, Albany, 63, 94, Fedora, 109, no 

197 Fenno, A. W., 136 

Empire Theatre, New York, 27, Ferguson, Robert V., 32 

37, 69, 120, 141, 152, 156, 157, Ferguson, W. J., 27 

158, 178, 179, 181, 183, 184, Fernald, Chester Bailey, 55, 56 

185, 227, 240, 245, 271, 283, Fernandez, Bijou, 30, 66, 226, 

286 270 

Enemy of the People, An, 46 Fernandez, James, 161, 169 

Enemy to the King, An, 97, 98, Fernandez, Mr., 77 

99 Ferrar, Ada, 119 

English, D. G., 225 Fetter, Selena, 127 

Englund, Hilda, 252 Feuillet, Octave, 6, 44, 45, 147, 

Ennery, Adolphe d', 6o, 279 148, 189 

Erckmann-Chatrian, 34 Field, Emma, 246 

Erison, Thomas, 271 Field, J. M., 262 

Erlynne, Roydon, 1, 98, 218, Field, Mrs. J. M., 262 

266 Fielding, Henry, 256, 257 

Erskine, James, 233, 276 Fielding, Margaret, 30 



Snber. 



3" 



Fielding, May, 246 Forster, Wilfred, 240 

Fifth Avenue Theatre, New Forsyth, Helen, 257 

York, 18, 32, 39, 40, 52, 86, Fortescue, May, 118, 119 

91, 114, 117, 139, 167, 168, Foss, G. R., 121 

169, 172, 173, 197, 211, 212, Foster, Mrs. Augusta, 245 
238, 269 Foster, Mr., 276 

Filles de Marbre, Les, 174 Fotheringham, Mr., 34 

Fils Naturel, he, 45 Fowler, Edward, 185 

Findlay, John, 133, 217 Fox, G. L., 196 

Finney, Jameson Lee, 37, 64, France, Mrs., 261 

146, 177, 286, 293 Francesco da Rimini, 113, 116, 
First Born, The, 1 11, 112 117 

Fischer, Alice, 177, 22s Francillon, 49 

Fischer, Robert, 226 Francis, A. B., 289 

Fisher, Alfred, 66 Francis, Virginia, 163 

Fisher, Charles, 39, 68, 79, 115, Francis, Mr., 109 

170, 190, 2ii, 259 Francoeur, Joseph, 223, 271 
Fisher, David, 15, 68, 69, 164, Frank, Alexander, 29 

208, 209, 247 Frankau, Joseph, 188 
Fiske, Harrison Grey, 89 Franks, Mr., 200, 260 
Fiske, Mrs., 32, 33, 40, 41, 106, Frawley, T. D., 245 

108, 118, 168, 169, 270 Frederick, George, 38 

Fitch, Clyde, 24, 27, 28, 65, 192 Fredericks, Mr., 34, 261 

Fitzallen, Adelaide, 185 Freisinger, Lucie, 168 

Fitzgerald, Alexander, 80 French, Pauline, 171 

Fitzgerald, Aubrey, 36, 233, 276 French, Stephen, 10 

Fitzpatrick, H., 109 Frohman, Charles, 3, 5, 31, 37, 
Fletcher, Charles Leonard, 94 57, 158, 233, 240, 251, 283, 

Flockton, C. P., 1, 96, 97, 208, 286 

209, 218, 266 Frohman, Daniel, 4, 7, 37, 146, 
Flood, John, 65 216, 218, 219, 268, 275, 276, 
Florence, Charles, 94 291 

Florence, Katherine, 5, 84, 120, Frou Frou, 117, 118 

128, 217, 251, 296 Fullerton, George, in 

Florence, W. J., 52, 54 Fulton, Nell Stone, 157 

Florence, Mrs. W. J., 52, 54 Fyles, Franklin, 120 
Floyd, W. R., 89, 239 
Flynn, Thomas, 228, 229 

Flynn, Miss, 202 Gaiety Theatre, London, 149 

Flynn, Mrs., 228, 229 Gail, Ellen, 181 

Folies Dramatiques, Paris, 271 Gale, Minna, 137 

Foote, Lydia, 51, 174, 212 Gallaher, Donald, 234 

Forbes, George, 227, 234, 241 Galland, Bertha, 112, 113 

Forbes, Norman, 200 Gallatin, Alberta, 99 

Forbes, Mr., 261 Galyer, May, 9 

Forbes, Mrs., 228 Gannon, May, 52, 215, 230 

Ford, Audrey, 46 Ganthony, Richard, 55, 56, 178, 
Ford, H., 179 279 

Ford, Marcus, 225 Garden, E. W., 182, 208 

Ford, Paul Leicester, 139 Garden Theatre, New York, 3, 
Ford, Rachel, 277 . 23, 75, 76, 133, 134, 278, 287 

Ford, William, 38 Gardiner, Marian, 66, 159 

Forde, Athol, 275 Gardner, Mr., 261 

Forde, Miss, 67 Garland, Franklin, 10 

Ford's Theatre, Washington, 204 Garrick, John D., 236 

Forest Lovers, The, 112, 113 Garrick Theatre, London, 166, 
Forget Me Not, 113, 114, 115 193, 206, 221, 222, 265, 271, 

Forrest, Arthur, 22, 76, 86, 146, 298 

225 Garrick Theatre, New York, 14, 



3i2 Sinter 



57, 84, 157, 179, 243, 244, Goodwin, Nat C, 83, 103, 104, 

251, 298 192, 193, 293, 294, 295 
Garrick Theatre, Philadelphia, Gordon, Caro, 289 

28, 29 Gordon, F. C, 198 

Garrison, G. W., 54 Gordon, J. B., 121 

Gaston, George, 287 Gordon, Margaret, 156 

Gay Lord Quex, The, 119 Gottschalk, Ferdinand, 4, 37, 65 

Geldart, R. A., 29 Gould, Bernard, 12, 268, 285 

Gendre, Le, 260 Gould, Charles, 129 

George, Grace, 38, 39 Gould, Howard, 218 

George, Seymour, 217 Gould, Nutcombe, 46, 146, 241 

Gerard, Florence, 53 Gourlay, Mr., 261 

Germaine, Revel, 127 Graham, Annie, 39 

Germon, Erne, 53, 53, 202 Graham, G. M., 240 

Gerrard, Mr., 109 Graham, J. G, 36 

Gerson, Paul, 38 Grahame, Cissy, 16 

Gheen, Gertrude, 152, 294 Grahame, Dorothy, 179 

Gibbs, Robert Paton, 278 Grahame, L., 178 

Gibney, C. P., 292 Grahame, Miss, 264 

Gibson, Charles, 232 Grand Opera House, St. Louis, 

Giddens, George, 77, 79, 107 252 

Gilbert, Charles R., 30 Grand Opera House, Washing- 
Gilbert, Mrs. G. H., 18, 39, ton, 125 

S 2 , S3> 9I> 117, 122, 170, Grandin, Elmer, 225 

172, 190, 210, six, 213, 234, Granger, Maude, 89, 191 

238, 246 Granger, Willis, 249 
Gilbert, John, 176, 208, 230, 262 Grant, James, 198 

Gilbert, William, 170, 246 Granville, Charlotte, 216, 252 

Gilder, Jeannette L., 226 Granville, Homer, 84, 85 

Gill, Basil, 227 Granville, Miss, 6 

Gillette, William, 30, 243, 244, Grattan, Stephen, 37, 49, 219, 

245, 251, 252, 270, 271 296 

Gillig, Robert, 236 Graves, Clo, 112 

Gillingwater, Claude, 96, 165, Gray, George H., 242 

166, 167, 288 Gray, Wayne, 94 

Gillmore, Frank, 32, 119, 129, Great Ruby, The, 121, 122, 123 

293 Greenleaf, Mose, 235 

Gilman, Ada, 80, 118 Greenwald, Marie, 97 

Gilmartin, J. J., 245 Gregory, Anne, 206 

Gilmour, J. H., 3, 24, 231 Gregory, A. W., 159 

Girl I Left Behind Me, The, 120, Gregory, Nina, 294 

121 Grein, J. T., 222 

Gisiko, Alexis L., 278 Greppo, George, 122 

Gladstone, Mr., 260 Gresham, Herbert, 122, 171 

Glendinning, John, 223, 278 Grey, Alice, 191 

Glenney, Charles, 15, 257 Grey, Katherine, 14, 235 

Glidden, Helen, 188 Griffin, Britta Marti, 20 

Globe Theatre, Boston, 54, 103, Griffin, Gerald, 66, 67 

188, 212, 239 Griffith Gaunt, 123, 124, 125 

Globe Theatre, London, 24, 119, Griffith, W. N., 14, 86, 171 

139, 207, 208, 259 Griffiths, G. H., 18, 92, 118 

Glover, Mary, 67 Grille, Die, 106 

Glyndon, Mr., 162 Grip of Steel, A, 16 

Godwin, William, 100 Grismer, Joseph R., 288 

Goldthwaite, Dora, 57, 96 Grossmith, G., 178 
Gollan, Campbell, 95, 244, 287 Grossmith, Weedon, 4 

Gomersall, Mrs., 124 Groves, Charles, 53, 129, 206, 

Gondinet, Edmond, 108 207 

Goodwin, J. Cheever, 101 Groves, Mrs. Charles, 193, 194 



Sfn&eir. 



313 



Grundy, Sydney, 44, 45, 206, 

224 
Guillemard, Mary F., 76 
Guitry, Mons., 3 
Gunn, Malcolm, 287 
Gurney, G., 216 
Gustafson, Zadel Barnes, 114 
Gwynette, Harry, 188 
G wynne, Julia, 109 
Gymnase-Dramatique, Paris, 138, 



Hackett, James H., 229 
Hackett, James K., 94, 9s, 217, 

219, 234, 27s 
Hackney, Mabel, 216, 233 
Hading, Jane, 118, 138 
Hague, Clarence, 143 
Hague, J. W., 191 
Haines, Alice B., 250, 251 
Haines, Mary, 9 
Haines, Robert T., 137 
Hale, Charles, 52 
Hale, Helen, 96 
Hale, Walter, 10, 37, 49, 198, 

219, 296 
Halevy, Ludovic, 117 
Halkett, Miss, 286 
Hall, Frank, 34 
Hall, Gertrude, 77 
Hall, Josephine, 8 
Hall, Laura, 122 
Hall, Lida, 137 
Hall, S. M., 192, 293 
Hall, Thomas A., 94, 93 
Hallam, O. E., 198 
Hallard, C. M., 46, 48, 279 
Halm, Frederick, 135 
Halsey, Mary, 193 
Halton, Charles, 20 
Hamburg, 222 
Hamilton, Hale, 95 
Hamilton, Henry, 121 
Hamilton, S., 216 
Hamilton, Theodore, 94 
Hamilton, Miss, 68 
Hamley, Edward Bruce, 230, 231 
Hammond, Dorothy, 216 
Hampton, Mary, 99, 243 
Hanbury, Hilda, 179 
Hanbury, Lily, 4, 36, 46, 48, 147, 

220 
Hanchett, David, 196 
Hanchett, Mrs., 196 
Hancock, Nellie, 185 
Handyside, Clarence, 192, 293 
Haney, Felix, 288 
Hanson, Fred B., 133 
Harbury, Charles, 292 



Harcourt, Charles, 35, 61 
Harcourt, George, 240 
Harcourt, William, 243 
Hardenbergh, Frank, 92, 118, 

190, 196, 211, 231 
Harding, Emma, 174 
Harding, Rudge, 206 
Harding, Miss, 250 
Hardy, Thomas, 50, 184, 258, 

269, 270 
Hare, Gilbert, 119, 129, 207 
Hare, John, 24, 50, 51, 55, 119, 

128, 129, 131, 132, 174, 186, 

187, 193, 194, 204, 206, 207, 

213, 221, 259, 264 
Harkins, D. H., 18, 27, 91, 93, 

125, 151, 172, 188, 191, 211, 

232, 238 
Harkins, W. S., 106 
Harlem Opera House, New York, 

223 
Harley, J. P., 42 
Harned, Virginia, 1, 78, 98, 99, 

266, 267, 278 
Harris, Miss A., 54. 
Harris, Monica, 198 
Harrison, Maud, 206 
Hart, T. J., 71 
Hart, W. S., 38, 136 
Harting, Hugh, 220 
Harvey, Martin, 143 
Harvey, May, 129, 207 
Harwar, Jane, 38 
Harwood, Harry, 20, 27, 126, 

151, 227, 232, 250, 283 
Harwood, Robb, 47 
Harwood, Mr., 162 
Haskins, Isobel, 66, 294 
Haslam, Mrs. C. A., 251 
Haslam, Maud, 271 
Hastings, Alfred, 55 
Haswell, Percy, 171, 247 
Hathorne, Murray, 180, 241 
Hatton, Bessie, 221 
Hauptmann, Gerhart, 266 
Haverleigh, Florence, 294 
Haviland, Mr., 201, 265 
Hawkins, Etta, 159 
Haworth, Joseph, 35, 64, 136, 

201, 225, 231 
Hawtrey, Charles, 158, 178 
Hayden, Arthur, 120 
Hayden, Blanche, 281 
Hayes, Florence, 294 
Haymarket Theatre, London, 

43. 46, 47. 77. 83, 109, 129, 

130, 140, 141, 148, 214, 239, 

240, 278, 285, 286 
Haywood, Francis, 292 



3H 



S(nbo:» 



Hazeltine, William, 122, 171 
Hazleton, George C, 185 
Heart of Maryland, The, 125, 

126 
Heaton, Harold, 251 
Hefron, Nevada, 146 
Heimath. See Magda 
Helps, Mr., 162' 
Henderson, Grace, 62, 295 
Henderson, Lucius, 250 
Henderson, Miss, 147 
Hendrick, Benjamin, 271 
Hendrie, Ernest, 128, 145 
Henley, Edward J., 138 
Henri, Miss J., 144 
Henrietta, The, 126, 127, 128 
Henry, Josephine, 68 
Henry, Mr., 68 
Henry, Mrs., 43 
Herald Square Theatre, New 

York, 11, 13, 30, 125, 165, 166, 

226 
Herbert, Sidney, 76, 122, 171, 

252 
Herbert, William, 185, 226, 245 
Herbert, Miss, 109 
Herbert, Mile., 132 
Her Majesty's Theatre, London, 

48 
Herman, Charles D., 117 
Herman, Henry, 254 
Heme, Chrystal, 236, 238 
Heme, James A., 236, 237 
Heme, Julie A., 236 
Heron, Bijou, 190, 210 
Herring, Fanny, 196 
Herrman, Henry, 231 
Herschberg, Herman, 185 
Hewlett, Maurice, 112 
Heywood, Fanny, 34 
Hichens, Robert, 34 
Hickman, Alfred, 269, 278 
Hickman, Robert, 57, 234, 271 
Highest Bidder, The, 78 
Hill, Barton, 136, 230, 231, 281 
Hill, Caroline, 131 
Hilliard, R. A., 289 
Hilliard, Robert, 292 
Hind, T. J., 106, 136 
Hitchcock, M. W., 83 
Hitchcock, R., 83 
Hitchcock, Walter, 138 
Hobbes, John Oliver, 5, 6 
Hobby Horse, The, 128, 129 
Hodge, W. T., 236 
Hodson, Georgina, 214 
Hoey, Mrs. John, 230, 262 
Hoff, Edwin W., 289 
Hoff, Olive, 32, 270 



Hoffman, Maud, 79, 121, 183, 

252, 253 
Holland, E. M., 48, 53, 97, 142, 

147, 206 
Holland, Miss F., 201 
Holland, George, 43, 53, 195, 

213, 230 
Holland, Joseph, 20, 21, 57 
Holland, Kate, 211 
Holland, Miss M., 201 
Holies, Alfred, 241 
Holliday, Harry J., 114 
Hollingshead, John, 35 
Hollis Street Theatre, Boston, 

266, 288 
Holmes, Ripley, 294 
Holt, Edwin, 10, 127 
Homans, Olive, 155 
Home, 129, 130, 131, 132, 133 
Honey, George, 51, 53, 54 
Honey, George (the younger), 

251 
Hood, Tom, 50, 100 
Hooley's Theatre, Chicago, 192 
Hoops, Arthur, 123, 235 
Hope, Anthony, 1, 218, 234, 235, 

236 
Hope, Cecil, 285 
Hopkins, Clement, 122 
Hopper, Edna Wallace, 120 
Hopper, Lulu, 243 
Horlock, Blanche, 77, 206, 269 
Hornick, Ethel, 7, 184, 185, 277 
Howard, Alfred S., 251 
Howard, Bronson, 7, 8, 126, 127, 

238, 249, 250 
Howard, Edwin, 71 
Howard, George, 123 
Howard, G. W., 69, 158 
Howard, J. B., 247 
Howard, Lydia, 162 
Howard, Mabel, 126, 298 
Howard Athenseum, Boston, 53, 

196, 197, 262 
Howe, Henry, 101, 200 
Howells, William Dean, 296 
Howland, Jobyna, 235 
Howson, A. S., 7 
Hoyt, Arthur T., 138 
Hudson, Alfred, 23, 32, 80, 89, 

93, 171, 249 
Hudson, Charles, 253 
Hudson, H., 178 
Hudspeth, Perdita, 64 
Hughes, Annie, 33, 79, 143, 182, 

232, 265, 279, 290 
Hughes, Fanny, 16 
Hughes, Mrs., 261 
Humphreys, Joseph, 27, 177, 232 



Slnbej:. 



315 



Hunt, A., 240 
Hunt, Lizzie, 281 
Hunter, Clara, 152 
Hunter, Miss F., 206 
Hunter, T. M., 86, 118, 281 
Hunter, Mrs. T. M., 105, 239, 

249, 281 
Huntington, Annette, 134 
Huntley, Barbara, 128, 253 
Huntley, Frank, 254 
Huntley, G. P., 242 
Huntley, Mr., 163 
Huntley, Mrs., 254 
Hutton, Laurence, 205 
Hyperion Theatre, New Haven, 

30 

If I were King, 133, 134 

Impulse, 134, 135 

Im Weissen Roess'l, 20 

Ingersoll, William, 192 

lngomar, 135, 136, 137 

In the Palace of the King, 137, 

138 
Irish, Annie, 31, 66, 90, 152, 242, 

270 
Irish, F. W., 34, 100 
Ironmaster, The, 138, 139 
Irving, George, 223, 234 
Irving, Henry, 34, 35, 100, 101, 

113, 142, 143, 144, 145, 160, 

161, 162, 165, 180, 200, 201, 

265 
Irving, Henry B., 5, 216, 274 
Irving, Isabel, 5, 37, 49, 63, 152, 

219, 283, 288, 296 
Irving, Laurence, 266 
Irving, Washington, 228, 229 
Irving Place Theatre, New York, 

20, 168 
Irwin, May, 170 
Ives, H., 274 
Ivor, Frances, 6, 279 

ack, John, 269 

ackson, Charles, 84, 85 

ackson, Hart, 280 

ackson, T. E., 243 

ackson, Wallace, 156, 238 

ackson, Miss, 147 
. ackson, Mrs., 7 
Jalousie, 30 
Tames, Charles, 29 
Tames, David, 51 
Tames, H. D., 244 
James, Louis, 18, 45, 91, 104, 

116, 117, 136 
James, Millie, 246 
Jamieson, George W., 124, 195 



Janice Meredith, 139 
Janish, 137 

Jansen, Marie, 107, 108 
Jarrett, Daniel, 1, 98, 218 
Jean la Poste, 15 
Jefferson, Joseph, 73, 74, 75, 
130, 195, 201, 202, 203, 228, 
229, 230 

effreys, Ida, 80 

effries, Ellis, 193, 194 

effries, Maud, 227, 252 

enkins, Gardner, 151 

ennings, Clara, 52, 213 

ennings, De Witt, 122 

ennings, James F., 185 

ennings, J. W., 39 

cpson, Eugene, 156 

erome, Jerome K., 166 

errold, Mary, 6 
. ewett, Henry, 13, 39, 64, 136 
Jim the Penman, 140, 141, 142 
Johnson, Ben, 86 
Johnson, Charles, 135 
Johnson, Mary, 266 
Johnson, Orrin, 23, 120, 151, 

234 
ohnson, Samuel, 101 

ohnson, Dr. Samuel, 199 

ohnson, Tifft, 287 

ohnston, T. B. F 176 

ohnstone, Menifee, 10 

ohnstone, Sybil, 127 

ones, Henry Arthur, 25, 26, 49, 
77. ISO, 176. 177. 179. 180, 
181, 182, 183, 184, 254 
mes, J. V., 96 

ones, James H., 104 

ones, Mrs. Melinda, 239 

ones, Mrs. W. G., 196, 227 

ordan, George, 176, 261, 263 

ordan, George, Jr., 117 

ordan, Harry, 261 

oseph, Mayton, 21 

osephs, Fanny, 208 

osephs, Harry, 104 

oyce, Laura, 103 

oyce, Mr., 262 
_ udah, Mrs., 43, 281 
Juif Polonais, Le, 34 



Kadelburg, Gustave, 20 
Kahn, Florence, 95 
Karsner, Jennie, 246 
Keach, E. F., 262 
Realty, Mary, 126 
Kean, Charles, 153, 161, 164 
Keefe, Joseph, 127 
Keeler, Caroline, 241 



316 



Sinter. 



Keenan, Frank J., 35, 64 

Keene, Tames A., 185 

Keene, Laura, 68, 176, 201, 202, 

204, 262 
Keene, Thomas W., 162, 281 
Keim, Miss, 22 
Keith, Royston, 182 
Kelcey, Herbert, 4, 37, 49, 62, 

125, 219, 268, 295 
Kelleher, Blanche, 7, 277 
Kellerd, John E., 9, 125, 223, 

250 
Kellogg, Gertrude, 224 
Kelly, Charles, 259 
Kelly, Edgar Stillman, 38, 56 
Kelly, Walter, 53 
Kemble, Henry, 47, 158 
Kemmis, Mrs. G., 6, 216 
Kendal, W. H., 88, 131, 134. 

135. 138, I39> 186, 187, 242, 

259, 260, 264, 289, 290, 291, 
296 

Kendal, Mrs., 88, 128, 131, 134, 
I35i 138, 139. 187, 242, 259, 

260, 264, 290, 291, 296 
Kendrick, Alfred, 71, 77, 151 
Kenmore, Margaret, 29 
Kennedy, H. A., 270 
Kennedy, M. A., 29 

Kent, Charles, 9, 126, 137 

Kent, S. Miller, 8, 271 

Kenyon, C, 225 

Kenyon, Leslie, 150 

Kerr, Frederick, 4, 77, 79, 129, 
169, 268, 282 

Kester, Paul, 292, 293 

Kiehl, Emilie, 117 

Kimball, Grace, 99, 218 

Kinard, Mr., 66 

King, Mrs., 232 

King Arthur, 142, 143, 144 

Kingdon, Edith, 170 

Kingdon, Francis, 39, 86 

Kingsbury, Howard Thayer, 76 

Kingsley, Mr., 233 

Kirby, Mrs. H., 262 

Kirk, Marion, 57 

Klein, Charles, 90 

Knickerbocker Theatre, New 
York, 3, 63, 71, 78, 129, 145, 
168, 192, 223, 253, 279, 293 

Knight, A., 138 

Knight, F. H., 206 

Knight, H., 222, 224 

248 



Knott, Roselle, 225 
Kruger, Alma, 126 



Kulp, Claire, 238, 293 
Kyle, Howard, 168, 193 

Labiche, Eugene, 206 
Lachaume, Aime, 267 
Lackaye, Wilton, 7, 90, 94, 108, 

250, 278 
La Coste, Miss, 169 
Lacressoniere, Mons., 163 
Lacy, Mr., 143 
Lady Huntworth's Experiment, 

145. 146 
Lady Lee's Widowhood, 230 
Lady Windermere's Fan, 146, 

147 
Lafayette Square Theatre, Wash- 
ington, 156, 297 
Lafont, Mons., 148 
Lamb, Beatrice, 222 
Lamb, Edward, 52 
Lamb, Frank E., 27, 151, 227, 

232, 240, 241, 283 
Lambart, R., 150 
Lamison, Norah, 24, 217, 293 
Lamp, William, 94 
Lancaster, Albert Edward, 112 
Lander, Frank, 27, 289 
Lane, Eleanor, 270 
Lane, Grace, 79 
Lane, Miss, 176 
Lanergan, J. W., 115 
Lang, Albert, 171 
Langdon, H. A., 71 
Lange Preusse, Der, 71 
Lantry, Maud, 293 
Laray, Mons., 60 
Lardner, Foster, 20 
Larkin, Sophie, 204, 208 
Lathrop, Frank, 120 
Lathrop, George Parsons, 97 
Lauer, Sadie, 20 
Laura Keene's Theatre, New 

York, 68, 107, 201, 202, 203, 

262 
Laurene, Mrs. Josephine, 187 
Laurent, Henry, 29 
Lavedan, Henri, 56, 58, 59 
Lawrence, Arthur R., 1, 98, 133, 

218, 266 
Lawson, Mr., 261 
Le Bert, Mina, 194 
Le Claire, Laura, 114, 115 
Leclercq, Charles, 210, 246 
Leclercq, Charlotte, 164 
Leclercq, Henri, 30 
Leclercq, Rose, 4, 36, 47, 77, 

216, 247 
Led Astray, 147, 148, 149, 130 
Lee, Henry, 38 



Slnticr. 



317 



Leeson, Dan, 68 

Lefevre, Mr., 86 

Legault, Marie, 3, 75 

Leigh, Alice, 24, 243, 244 

Leigh, Clifford, 127, 198 

Leigh, Helen, 117 

Leigh, Miss, 27 

Leman, Walter M., 54, 281 

Lemraert, Charles, 198 

Le Moyne, Sarah Co well, 57, 

59 
Le Moyne, William J., 18, 37, 

49, 57, 62, 91, 94, 118, 141, 

149, 196, 219, 239, 268, 270, 
, 295 

Lennon, Nestor, 106 
Lennox, Cosmo Gordon, 34 
Leonard, W. J., 106 
Leslie, Dora, 159 
Leslie, Elsie, 64, 155 
Leslie, Frederic, 292 
Leslie, George W, 246 
Le Soir, George, 94, 171, 227 
Lessing Theater, Berlin, 27, 119, 

167 
Lester, Kate, 123 
Lethcourt, H. J., 126 
Lethiere, Miss, 88, 276 
Levian, Henry, in 
Levick, Gus, 249, 281 
Levick, Milnes, 68, 201 
Levick, Mrs., 202 
Lewers, William, 223 
Lewis, Emily, 213 
Lewis, Eric, 145, 158, 233, 289, 

291 
Lewis, Harold, 123 
Lewis, Henry, 192 
Lewis, Horace, 9, 112, 115, 225 
Lewis, James, 18, 39, 40, 53, 80, 

91, 117, 170, 172, 190, 210, 

211, 238, 239, 246, 259 
Lewis, Jeffreys, 198, 211, 212 
Lewis, Leopold, 34, 35 
Lewis, Mabel Terry, 119 
Lewis, Marie, 79 
Lewis, Ralph, 24 
Lewis, Miss, 7 
Leyden, Frank, 287 
Leyton, Helen, 141 
Liars, The, 150, 151, 152 
Liberty Hall, 274 
Lights o' London, The, 152, 153, 

154 
Lima, Clara, 185 
Lincoln, Abraham, 204 
Lincoln, Francesca, 32 
Lindemann, Eugenia, 127, 128 
Linden, Laura, 79 



Lindley, Henrietta, 36, 141 

Lindsley, Guy, 168 

Lingard, Alice Dunning, 281 

Lingard, Dickie, 281 

Lingard, George, 261 

Lingard, Nellie, 270 

Linthicum, Lotta, 253 

Lionel, Cecil, 271 

Lipman, A. S., 140, 231 

Lister, Rupert, 233, 285 

Little Lord Fauntleroy, 154, 155, 

156 
Little Minister, The, 156, 157, 

158, 224 
Liverpool, 205, 222, 258 

Prince of Wales's Theatre, 
258 
Lloyd, David D., 245 
Lloyd, Edwin, 21 
Lloyd, Florence, 66 
Lloyd, Prince, 194 
Locfy, Mme., 189 
Loftus, Cecilia, 133, 134, 146 
Logan, Helen, 133 
London 

Adelphi Theatre, 15, 60, 68, 
126, 164, 174, 175, 224, 226, 
227, 228, 244, 245 
Alfred Theatre, 35 
Avenue Theatre, 12, 178 
City Theatre, 67 
Comedy Theatre, 36, 158, 221, 

244, 270 
Court Theatre, 3, 4, 41, 78, 
169, 200, 233, 239, 275, 
289, 291 
Covent Garden Theatre, 199 
Criterion Theatre, 25, 49, 107, 
145, 150, 151, 207, 231, 264, 
282 
Drury Lane Theatre, 121, 160, 

247, 248, 263 
Duke of York's Theatre, 2, 

64, 166 
Gaiety Theatre, 149, 164 
Garrick Theatre, 166, 193, 206, 

221, 222, 265, 271, 298 
Globe Theatre, 24, 119, 139, 

207, 208, 259 
Haymarket Theatre, 43, 46, 47, 
77, 83, 109, 129, 130, 140, 
141, 148, 158, 214, 239, 240, 
278, 285, 286 
Her Majesty's Theatre, 48 
Lyceum Theatre, 34, 35, 41, 
42, 75. 93, 99, "3, 142, 144, 
161, 162, 165, 168, 179, 180, 
181, 242, 252, 297 
Lyric Theatre, 252 



3*8 



Snbcjr. 



Olympic Theatre, 150, 224, 

260 
Opera Comique, 94 
Prince of Wales's Theatre, 34, 
50, 88, 113, 114, 132, 174, 
208, 212, 271 
Princess of Wales's (Kenning- 

ton) Theatre, 88 
Princess's Theatre, 14, 15, 69, 
IS 2 , 153, 161, 164, 204, 224, 
_ 254. 25s, 263 
Queen's Theatre, 263 
Sadler's Wells Theatre, 120 
St. James's Theatre, 5, 71, 128, 
131, 134, 138, 146, 176, 177, 
186, 216, 219, 235, 241, 258, 
259, 264, 273, 274 
Shaftesbury Theatre, 141, 181, 

182 
Standard Theatre, 164 
Strand Theatre, 45 
Terry's Theatre, 268, 269 
Toole's Theatre, 79 
Vaudeville Theatre, 88, 174 
Victoria Theatre, 164 
Wyndham's Theatre, 88 
Long, Charles E., 198 
Long, John Luther, 165 
Loraine, Robert, 121 
Lord and Lady Algy, 158, 159 
Lord Chumley, 78, 159, 160 
Lorimore, Ethel, 252 
Losee, Frank, 123, 127, 227 
Lotto, Frederick, 133 
Louis XI, 160, 161, 162 
Love Finds the Way, 33 
Lovell, Maria, 135 
Lovell, Sylvia, 179 
Lowe, Mabel, 121, 279 
Lowell, Helen, 223 
Lowne, C. M., 121, 178 
Lowrie, Jeannette, 98 
Lowther, Mr., 162 
Lubormirsky, Prince, 104, 105 
Luce, Alethea, 55 
Lucie, Miss C, 290 
Luck, Helen, 194 
Lucy Rushton's Theatre, New 

York, 1 24 
Lugg, W., 79, 169 
Lyceum Theatre, London. See 

London, Lyceum Theatre 
Lyceum Theatre, New York. 
See New York, Lyceum Thea- 
tre 
Lyceum Theatre, Rochester, 

N. Y., 83 
Lyle, Lyston, 178 
Lynch, George W., 235 



Lyndal, Percy, 252 

Lynden, Sylvia, 39 

Lyons, Edmund D., 225 

Lyons Mail, The, 162, 163, 164, 

165 
Lyons, R. C, 162 
Lytell, W. H., 80 

McAllister, Paul, 122, 227 

McArdle, Henry, 251 

Macbeth, Helen, 126, 217 

McCarthy, Justin H., 133 

McCarthy, Lillah, 253 

McCarthy, T. J., 185 

McCaull, Angela, 125 

McClannin, Robert F., 61, 92, 
106, 118, 209, 243 

McCord, Lew, 167 

McCormack, Frank, 40 

McCormack, K., 9 

McCullom, J. C, 173 

McCullough, John, 136 

McDonald, Harriet, 236 

MacDonna, Henry, 249 

McDougal, Mr., 201 

MacDowell, Melbourne, no, 273 

McFarland, William, 136 

MacGilvray, Laura, 129 

McGrath, Thomas, 251 
McGregor, Helen, 134 
Mcintosh, Burr, 139, 278, 288 
Mackay, Frank F., 280 
Mackay, Gayer, 178, 279 
Mackay, J. L., 285 
Mackay, Robert, 240 
Mackaye, Jessie, 156 
MacKenzie, Mary, 167 
Mackin, John E., 94 
Mackintosh, C. A., 101 
Mackintosh, W., 107, 180, 182, 

186 
Mackintosh, Mr., 128, 259 
Macklin, F. H., 47, 88, 150 
MacLaren, Donald, 24, 71, 292 
Maclean, J., 138 
MacLean, R. D., 136 
McLeay, Franklin, 253 
McMannus, Mrs., 106 
McMillan, Lida, 128 
Macnamara, Mrs., 42 
McRae, Bruce, 8, 251, 292 
MacVicars, F., 279 
McVicker's Theatre, Chicago, 

225 
McWade, Robert, 53 
Madame Butterfly, 165, 166, 167 
Maddern, Emma, 106 
Maddern, Mary, 106 



Sinter. 



319 



Maddern, Minnie, See Mrs. 

Fiske 
Mile. Fiji, 70 
Madison Square Theatre, New 

York, 27, 47, 97, 141, 187, 206, 

291, 292 
Maeder, Clara Fisher, 54 
Maffitt, James S., 102, 197 
Magda, 167, 168, 169 
Magistrate, The, 4, 169, 170, 171 
Maguinnis, D. J., 103, 105, 230, 

249, 281 
Maguire, John, 20 
Maid of Honor, The, 224 
Maison de Man, La, 134 
Maitre de Forges, he, 138 
Major, Charles, 292 
Malone, John, 186 
Malory, Sir Thomas, 142 
Maltman, Louise, 159 
Man and Wife, 18, 172, 173, 174 
Man of Iron, A, 45 
Man of Success, The, 45 
Manchester, Eng. 

Princess's Theatre, 161, 186 

Theatre Royal, 278, 290, 296 
Manhattan Theatre, New York, 

in, 289 
Mann, Adeline, 70 
Mannering, Mary, 7, 139, 140, 

217, 219, 275, 277 
Manners, Miss, 115 
Manning, Ambrose, 227, 253 
Manola, Marion, 53 
Mansfield, Richard, 13, 14, 27, 

28, 29, 76, 85, 86, 87, 93, 187, 

188 
Mansfield, Robert, 38 
Mantell, Robert B., 110, 176 
Mapes, Victor, 94 
Marble Heart, The, 174, 175, 

176 
Mar, Helen, 128 
Marburg, Guido, 27, 147, 177, 

218 
Marbury, Jane, 226 
Marchand des Enfants, he, 73 
Margaret Fleming, 236 
Marius, C. D., 107, 132 
Mark, Agnes, 294 
Markby, R., 144 
Markwell, W. R., 160, 162 
Marlowe, Ethel, 64 
Marlowe, Julia, 16, 24, 71, 72, 
, 137, 293 

Marlowe, Owen, 52, 54 
Marlowe, Mr., 261 
Marriott, W., 225 
Marsh, Fannie, 92, 118 



Marshall, Charles, 20 

Marshall, Frank A., 239 

Marshall, Polly, 73 

Marshall, Robert, 233, 239, 240 

Marshall, Tully, 160 

Marston, Westland, 83 

Martin, James, 101 

Martin, Mr., 259 

Martinot, Sadie, 118, 249 

Maskell, Miss, 260 

Mason, A. E. W., 12 

Mason, John B., 7, 17, 63, 146, 

171, 196, 211, 231, 249, 269, 

277, 292 
Masqueraders, The, 176, 177, 178 
Massen, Louis, 97, 123, 141, 220, 

223 
Masterson, Lillian, 155 
Mather, Sydney C, 133 
Matthews, A. £., 145 
Matthews, Brander, 44 
Matthews, Miss E., 290 
Matthews, Sant, 268 
Matthews, Mr., 136 
Matthison, A., 238 
Maude, Cyril, 36, 158, 240, 241, 

285 
Maupassant, Guy de, 70 
Maurice, Edmund, 79, 141, 278 
May, Olive, io, 227 
May, Mr., 46 
Mayer, Albert, 28s 
Mayeur, Ernest, 194 
Mayhew, Elizabeth, 20 
Mayne, Miss E., 144 
Mayne, Frank, 192, 293 
Mayne, Helen, 34 
Mayo, Frank, 136 
Mayo, Margaret, 30 
Mea, Mile., 3 
Mead, Thomas, 162 
Meagreson, Mr., 236 
Measor, Adela, 27 
Meek, Kate, 27, 30, 62, 84, 271 
Meilhac, Henri, 117 
Melford, Mrs., 260 
Mellish, Fuller, 47, 128, 143, 257, 

265 
Mellon, Mrs. Alfred, 69 
Melmer, Harry, 106 
Melton, Mr., 276 
Meltzer, Charles Henry, 9, 266, 

267 
Melville, W. T., 225 
Mendum, Georgie, 57, 152, 227 
Menelly, Lillian, 121 
Meriyale, Herman, 109, 113, 114 
Merrilees, Carrie, 64 
Merrilees, Edith", 64 



3 2o tftntitX' 



Merrill, Miss, 109 Montgomery, Henry W., S 

Message from Mars, A, 178, 179 Montgomery, Walter, 162, 263 

Mestayer, Emily, 197 Montjoye, 44, 45 

Mestayer, Louis J., 101 Montreal, 129, 144, 265 
Mestayer, W. A., 281 Academy of Music, 129, 144, 

Mestayerj Miss, 261 265 

Metropolitan Theatre, New York, Montrose, Harry, 38 

176 Moodie, Louise, 61, 119 

Metropolitan Theatre, San Fran- Moore, Eva, 182, 285 

cisco, 175 Moore, Louisa, 204 

Meyers, Louisa, S3 Moore, Maggie, 15 

Michael and his Lost Angel, 179, Moore, Mary, 25, 49, 77, 151, 

180, 181, 184 183, 232, 264, 282 

Middleman, The, 181, 182, 183 Moore, Nellie, 82 

Midsummer Night's Dream, A, Moore, Mr., 260 

202 Morant, Ella, 103 

Millard, Evelyn, 2, 64, 166, 220, Morant, Fanny, 91, 238, 280 

242 Mordaunt, Frank, 90, 120, 121, 
Millard, Jeanne, 289 125, 127, 191 

Miller, Agnes, 27 ' Moreau, Mons., 163 

Miller, Henry, 177, 181, 210, Moreland, Beatrice, 23 

2 5°> 259, 268, 295 Moreland, Edward, 66 

Miller, Joaquin, 80 Moreland, Mr., 263 

Millett, Maude, 182, 241, 268, Moretti, Eleanor, 71 

282 Morey, H. A., 244 

Mills, Frank R., 126, 217, 219, Morgan, Beatrice, 7, 122, 146 

275 Morgan, Edward, 7, 38, 39, 63, 
Mills, Miss, 200 64, 90, 125, 126, 217, 219, 226, 

Millward, Dawson, 119, 121, 285 275, 276 

Millward, Herbert, 96, 206, 298 Morgan, Flora, 185 

Millward, Jessie, 71, 159, 161, Morgan, Howard, 4 

184, 244 Morgan, William, 122 

Milton, Maud, 143 Morris, Clara, 18, 19, 91, 118, 
Mintz, Louis F., 185 172, 173, 191, 238, 239 

Misanthrope, he, 6 Morris, Felix, 20, 21, 22, 217, 
Miss Hobbs, 166 275 

Mrs. Dane's Defense, 183, 184, Morris, Nina, 217 

185 Morris, William, 120, 295 

Mistress Nell, 185, 186 Morrison, Edwin, 55, 292 

Mitchell, Dodson, 24, 71, 227 Morrison, Lewis, 297 

Mitchell, Langdon, 32, 33 Morrison, L. F., 113 

Mitchell, Maggie, 106, 107, 137 Morrison, Mabel, 234 

Mitchell's Olympic Theatre, New Morse, Kathryn, 294 

York, 43 Morse, Mrs. L., 54 

Modjeska, Helena, 118, 168 Mortimer, Ellen, 39, 198 

Moliere, 6 Mortimer, Estelle, 192, 294 

Mollison, Ethel Knight, 29 Mortimer, John K., 124, 284 

Molony, Kate, 97 Mortimer, Miss N., 39, 91 

Monckton, Lady, 47, 141 Morton, John Maddison, 41, 42, 
Monde ou Von s'Ennuie, 6 43, 44 

Money Spinner, The, 186, 187 Morton, Martha, 22 

Monk, Minnie, 86, 226 Mosley, F. C, 116 

Monroe, Frank, 236 Moulton, Blanche, 137 

Monroe, Maud, 66 Mowatt, Anna Cora, 136" 

Monsieur, 187, 188, 189 Mowbray, Miss, 176 

Monsieur Alphonse, 189, 190, Muller, Henry, 217 

191 Munte, Mme. Lena, 60 

Montague, H. J., 55, 89, 207, Murdock, Harry S., 103, 104, 

208, 213 132, 282 



Sdifcer. 



321 



Murname, Allen, 234 

Murphy, Con T., 106 

Murphy, Frederick, 71 

Murphy, William, 21 

Murray, Ada, 259 

Murray, Alma, 12 

Murray, Dominick, 15 

Murray, Gaston, 34 

Murray, Mrs. Gaston, 128, 134, 

138, 187. 200, 222 
Murray, Leigh, 164, 174, 175 
Murray, Mrs. Leigh, 150, 174, 

212 
Murtha, Frank, 288 
Musset, Alfred de, 6, 45 
My Partner, 191, 192 

Nainby, R., 4 

Nathan Hale, 192, 193 

National Theatre, Boston, 196, 

197 
National Theatre, Washington, 

95. 120 
Naughty Anthony, 165, 166 
Navarro, Virginia, 122 
Neill, James, 245 
Neill, R. R., 140 
Neilson, Francis, 244 
Neilson, Julia, 71, 77, 194, 216, 

274 
Nelson, Helma, 277 
Nelson, Lucille, 278 
Nennett, Richard, 234 
Nesbitt, Miriam, 20 
Nethersole, Olga, 118, 193, 194, 

222, 223, 242 
Neville, C., 208 
Neville, G. F., 15 
Neville, Henry, 16, 48 
Neville, Kate, 200 
Neville, Miss L., 200 
Newall, M., 289 
Newcomes, The, 44 
New Haven, Conn. 

Hyperion Theatre, 30 
New Olympic Theatre, New 

York, 107 
New Orleans, 73, 106, 130 

St. Charles Theatre, 106 

Varieties Theatre, 73, 130 
Newport, R. I., 288 
Newton, Kate, 117, 172 
New York 

Abbey's Theatre, 47, 48, 144, 
168, 194, 207 

Academy of Music, 25, 288 

Amberg s Theatre, 222 

American Theatre, 90 

Barnum's Museum, 261 

21 



Bijou Theatre, 65, 66, 185 
Bowery Theatre, 196 
Broadway Theatre, 9, 38, 43, 

52, 80, us, 136 
Burton's Theatre, 261, 262 
Carnegie Lyceum, 129 
Criterion Theatre, 24, 95, 119, 

158, 293, 298 
Daly's Theatre, 7, 79, 122, 123, 

146, 170, 171, 210, 259 
Empire Theatre, 27, 37, 69, 

120, 151, 152, 156, 157, 158, 

178, 179, 181, 183, 184, 185, 

227, 240, 245, 271, 283, 286 
Fifth Avenue Theatre, 18, 32, 

39, 40, 52, 86, 91, 114, 117, 

*39< !67» l6 8, 169, 172, 173, 

190, 197, 211, 212, 238, 269 
Garden Theatre, 3, 23, 75, 76, 

133, 134, 278, 287 
Garrick Theatre, 14, 57, 84, 

i57t 179, 243, 244, 251, 298 
Harlem Opera House, 223 
Herald Square Theatre, n, 13, 

30, 125, 165, 166, 226 
Irving Place Theatre, 20, 168 
Knickerbocker Theatre, 3, 63, 

71, 78, 129, 144, 145, 168, 

192, 193. 223, 253, 279, 293 
Laura Keene's Theatre, 68, 

107, 201, 202, 203, 262 
Lucy Rushton's Theatre, 124 
Lyceum Theatre, 2, 4, 37, 49, 

63, 78, 112, 113, 159, 217, 

218, 219, 233, 234, 235, 268, 

275, 276, 295 
Madison Square Theatre, 27, 

47. 97. 141. 187, 206, 291, 

292 
Manhattan Theatre, III, 289 
Metropolitan Theatre, 176 
Mitchell's Olympic Theatre, 43 
New Olympic Theatre, 107 
New York Theatre, 123, 124, 

226. 283 
Niblo s Garden, 94, 101, 125 
Olympia Theatre, 55 
Olympic Theatre, 43, 107, 124, 

230, 284 
Palmer's Theatre, 7, 8, 43, 147 
Proctor's Theatre, 250 
Savoy Theatre, 185 
Star Theatre, 35, ioi, 145, 

161, 220, 242, 245, 250 
Theatre Francais, 125 
Theatre Republic, New York, 

137. 186 
Union Square Theatre, 45, 61, 

126, 148, 149, 191, 280 



322 Sfo&eje. 



Wallack's Theatre, 20, 52, 55, Osbourne, George, in, 112, 250 

89. 95> 114. 115. 139, 140, Osbourne, George, Jr., 69, 159, 

186, 205, 208, 214, 223, 230, 184 

247, 257, 262 Osterman, Kathryn, 246 

Winter Garden, 73, 194 Otis, Elita Proctor, 37, 219 

Niblo's Garden, New York, 94, Otley, James, 113 

101, 125 Oughterson, R. G., 240 

Nicholls, Guy, 64 Ouida, 287 

Nicholls, Harry, 244 Our American Cousin, 201, 202, 

Nicholls, Miss K., 200 203, 204 

Nilsson, Carlotta, 6 Our Boys, 55, 208 

Noah, Rachel, 132, 230 Ours, 50, 51, 204, 205, 206 

Nolan, James, 92, 149, 155, 171, Ouvrieur de Messine, L', 163 

210, 249 Overton, Charles, 97 

Norman, Gertrude, 137 Owen, William F., 32, 33, 76, 

Norreys, Rose, 77, 79, 108, 169, 122, 146, 171 

268, 269 Owens, John E., 73 
Norris, William, 137 

North, Wilfrid, 32, 40, 269, 292 Padgett, J. C., 245 

Norton, Edgar, 64 Page, N. Clifford, 56 

Norton, Mabel, 137 Pailleron, Edouard, 6 

Norwood, Gertrude, 117 Paine, Mr., 224 

Notorious Mrs. Ebbsmith, The, Pair of Spectacles, A, 206, 207 

193, 194, 216 Palmer, A. M., 45, 47, 97, 141, 

Nunez, May, 212 147, 206, 278 

Nus, Eugene, 104, 105 Palmer, Millicent (Mrs. D. E. 

Bandmann), 61 

Oaker, Jane, 9S Palmer, Minnie, 191 

Oberle, Thomas, 120, 192, 293 Palmer's Theatre, New York, 7, 

O'Brien, Neil, 192, 293 8, 43, 147 

Octoroon, The, 194, 195, 196, Pardoe, May, 6 

197 Paris, 3, 8, 15, 17, 34, 35. 44, 

Odell, Maude, 5, 219 56, 57, 59, 60, 75, 76, 96, 105, 

Ogilvie, Stuart, 77 108, 130, 138, 148, 163, 189, 

O'Hara, John D., 140 245, 256, 271, 272, 280, 297 

Ohnet, Georges, 138 Ambigu Comique, 17, 59 

Old Heads and Young Hearts, 94 Cluny Theatre, 34 

O'Leary, Miriam, 155, 212, 231, Folies Dramatiques, 271 

249, 250, 269 Gymnase Dramatique, 138, 189 

Oliver, Pattie, 15 Sarah Bernhardt Theatre, 3 

Oliver Goldsmith, 197, 198, 199, Theatre de la Gaiete, 15, 163 

200 Theatre de la Porte St. Martin, 

Olivia, 200, 201 60, 75, 105, 272, 280 

Olympia Theatre, New York, 55 Theatre de la Renaissance, 245 

Olympic Theatre, London, 150, Theatre du Vaudeville, 8, 108, 

224, 260 148 

Olympic Theatre, New York, 43, Theatre Francais, 57 

107, 124, 230, 284 Parisian Romance, A, 28 

Olympic Theatre, St. Louis, 292 Park, William, 133 

O'Neill, Anne, 187, 246 Park Theatre, Boston, 14, 89, 

O'Neill, Tames, 62 225, 236, 277, 278 

Ongley, Byron, 24 Parker, Lottie Blair, 288 

Opera Comique, London, 94 Parker, Louis N., 3, 77, 169, 231 

Opp, Julie, 216, 217, 275 Parker, Miss M., 149 

Oram, Mona K., 119, 129 Parkes, George, 18, 39, 117, 172, 

Ordonheau, 270 191, 210, 238 

Ormonde, Eugene, 288 Parks, Alice, 71 

Ormsby, Emmeline, 152 Parks, George R., 212, 249 

Orton, Josephine, 231, 239 Parr, Norman, 1, 266 



Sn&ejt. 



3 2 3 



Parry, John, 188 

Parry, Sefton, 161 

Parselle, Charles, 280 

Parsloe, Charles T., 191, 192, 

284 
Parsons, Charles B., 228, 229 
Partners for Life, 207, 208, 209, 

210 
Pascoe, William, 138 
Passing Regiment, The, 210, 211 
Pateman, Bella, 121, 179 
Pateman, Robert, 16, 121, 179, 

227, 281 
Paterson, E. H., 233 
Paul Zegers, 35 
Pauncefort, Miss G., 34, 144 
Payne, Miss L., 201 
Peach, G. R., 152, 253 
Pearce, George C, 37, 69, 159 
Pearce, Miss, 67 
Pearson, Harry, 54, 73, 195 
Pell, Horace, 226 
Perry, Frederick, 38, 96 
Perry, Gertrude, 128 
Perry, Irma, 96 
Perry, Sara, 223 
Peters, Charles, 201, 203, 204, 

214 
Petite Fadette, La, 106 
Petits Oiseaux, Les, 206 
Phelps, Samuel, 153 
Phenomenon in a Smock Frock, 

A, 209 
Philadelphia, 1, 24, 29, 38, 76, 

92, 135, 229, 234, 243, 262 

Arch Street Theatre, 229 

Broad Street Theatre, 1, 24, 
243 

Chestnut Street Opera House, 
38, 76 

Chestnut Street Theatre, 92, 
135. 234 

Garnck Theatre, 28, 29 
Philips, Edna, 266 
Phillips, Mrs. E. J., 48 
Phillips, H., 24 
Phillips, Helena, 167 
Phillips, Kate, 187 
Phillips, Laura, 149 
Phillips, Moses S., 228 
Phipps, W. J., 152 
Pierce, Alice, 155, 269 
Pierrepont, Grace, 278 
Pierson, Mile. Blanche, 88, 189 
Pigott, J. W., 8, 36 
Pilar-Morin, Mile., 167 
Pinero, Arthur W., 3, 4, 5, 36, 

78, 119, 128, 138, 169, 170, 

171, 186, 216, 221, 241, 258, 



260, 268, 269, 275, 276, 277, 
289 

Pique, 211, 212 

Pitt, Addison, 186 

Pitt, C. Dibdin, 236 

Pitt, Fanny Addison, 23, 159, 
269 

Pitt, Henry M., 13, 133, 141, 
154, 156, 210, 211, 249, 269 

Planche, J. R., 101 

Plantation Thomassin, La, 270 

Planter, The, 271 

Play, 172, 212, 213 

Plunkett, Charles, 32 

Plympton, Eben, 136, 137, 231 

Pocahontas, 102, 214, 215 

Polk, J. B., 52, 53, 172, 213 

Ponisi, Mme., 55, 68, 89, 114, 
115, 136, 176 

Poole, Mrs. Charles, 173, 281 

Pope, Charles R., 106, 234 

Pope, Ernest, 179 

Pope, Mr., 136 

Post, William, 95 

Potter, Herbert, 249 

Potter, Paul M., 69, 70, 277, 
287 

Potter, Mrs., 118, 139 

Povey, John, 43 

Powell, Francis, 133 

Powell, Soldene, 251 

Power, Tyrone, 32, 41, 171 

Powers, Carrie E., m 

Powers, Francis, m, 112, 227 

Prahar, Irene, 29 

Pratt, Harry, 80 

Presbrey, Eugene W., 9 

Prescott, Marie, 137 

Preston, Duncan, 235 

Price, Fanny Bayard, 196 

Price, Lizzie, 239 

Price, Mark M., 105 

Price, Sidney, 95, 235 

Prince of Wales's Theatre, Bir- 
mingham, 82 

Prince of Wales's Theatre, Liv- 
erpool, 258 

Prince of Wales's Theatre, Lon- 
don, 34, 50, 88, 113, 114, 132, 
174, 204, 208, 212, 271 

Princess and the Butttrily, The, 
216, 217 

Princess of Wales's (Kenning- 
ton) Theatre, London, 88 

Princess's Theatre, Birmingham, 
16 

Princess's Theatre, London, 14, 
•5. 69. 152. 'S3. 161, 164, 224, 
2S4. 255, 263 



3 2 4 



Stober. 



Princess's Theatre, Manchester, 

161, 186 
Pringle, Stanley, 282 
Prisoner of Zenda, The, 218, 219, 

220, 235, 287 
Probert, George S., 84 
Proctor's Theatre, New York, 

250 
Professor's Love Story, The, 220, 

221 
Profligate, The, 221, 222, 223 
Proof, or a Celebrated Case, 60 
Providence, R. I., 63, 262 
Purdon, Richard, 276 
Putnam, Boyd, 93 



Quality Street, 223, 224 
Queen's Favorite, The, 224, 225 
Queen's Theatre, London, 263 
Quinton, W. H., 4, 276 
Quo Vadis, 225, 226, 227 



Rachel, Lydia, 179 

Radford, Becton, 24 

Raleigh, Cecil, 121 

Raleigh, Mrs. Cecil, 121, 216 

Ramsay, Walden, 13, 48, 97, 147, 

206 
Rand, Helen, 127 
Rand, Rosa, 9, 278 
Rand, Violet, 98 
Randolph, Frank, 234 
Rankin, McKee, 80, 81, 118, 280 
Rankin, Mrs. McKee, 13, 80, 81, 

280 
Ranous, W. V., 226 
Ratcliffe, Edward J., 127 
Ray, J. W., 204 
Raye, George C, 133 
Raymond, Miss E., 261, 262 
Raymonde, 191 
Reade, Charles, 123, 162, 163, 

164, 165 
Redmund, Charles, 133 
Reed, Alvan A., 106 
Reed, Samuel, 271 
Reeves, Fannie, 61 
Regnier, Mons., 18 
Rehan, Ada, 76, 80, 122, 170, 

171, 210, 246, 247, 259 
Reicher, Frank, 32, 292 
Reid, Mayne, 197 
Reignolds, Kate, 176, 196, 231, 

263 
Rejane, Gabrielle, 118, 297 
Repton, Leila, 6, 216 
Revel, Mollie, 238 



Revelle, Hamilton, 96, 223, 285 
Rev. Griffith Davenport, The, 

236, 237 
Reynolds, F., 21, 129 
Reynolds, Genevieve, 177 
Rhea, Mile., 118 
Rial, Louise, 140 
Ricard, Amy, 140 
Riccardo, Corona, 38 
Rice, Blanche, 96 
Rice, Edward £., 101, 102 
Richard Carvel, 227, 228 
Richman, Charles, 76, 122, 171, 

184, 234 
Richmond, T. E., 90 
Righton, Edward, 289 
Rigl, Emily, 39, 211 
Rignold, Marie, 121 
Rignold, Stanley, 32 
Rignold, William, 15, 150 
Ring, Frances, 293 
Ring, James H., 43, 53, 55, 92, 

118 
Ringgold, B. T., 39, 52, 80 
Rip van Winkle, 228, 229, 230 
Ritchie, Adele, 90 
Ritchie, Franklyn, 237 
Ritsoe, Eleanor, 20 
Rivals, The, 229 
Rivers, Emma, 220 
Rivers, Gertrude, 23, 37, 235 
Rivers, Hilda, 6 
Robe, Annie, 89, 257 
Rober, Katherine, 107 
Roberts, H. R., 96 
Roberts, Sir Randal, 133 
Roberts, R. A., 251 
Roberts, Theodore, 10, 94, 120, 

121, 235 
Robertshaw, Terrold, 77 
Robertson, Agnes, 15, 68, 73, 

195. 247 
Robertson, Forbes, 143, 144, 169, 

180, 193, 221 
Robertson, Helen, 96 
Robertson, Ian, 180, 193 
Robertson, T. W., 50, 54, 82, 

129, I 30. 172, 204, 205, 206, 

207, 212, 259 
Robertson, T. W., Jr., 131, 132 
Robins, Elizabeth, 62 
Robinson, Florence, 294 
Robinson, Forrest, 40, 236, 270, 

288 
Robinson, Frederic, 48, 54, 89, 

97, 118, 141, 206 
Robinson, Margaret, 23, 287 
Robson, E. M., 275 
Robson, May, 38, 70, 146, 159 



fnbejr. 32s 



Robson, May Waldron. See Ryan, Kate, 43, 48, 93, 155, 250 

May Waldron Ryder, John, 35 

Robson, Stuart, 54, 126, 127, Rynar, Henry, 213, 284 

149, 150, 198, 199, 245, 280 
Rochester, N. Y., 83 

Rock, Charles, 194, 207 Sadler's Wells Theatre, London, 
Rockwell, C, 211 120 

Rockwell, Florence, 198 Sag Harbor, 236, 237, 238 

Rodgers, James, 16 St. Ange, Josephine, 182 

Roe, Bassett, 16, 71, 72, 221 St. Charles's Theatre, New Or- 
Roebuck, Mabel, 122 leans, 106 

Rogers, Katherine, 54 St. Clair, Bertha, 167 

Roman d'un Jeune Homme St. James's Theatre, London. 

Pauvre, 45 See London 

Rooke, Irene, 253, 266 St. Louis, 252, 262, 292 
Roosevelt, Maude, 95 Grand Opera House, 252 

Root, Grace, 217 Olympic Theatre, 292 

Rorke, Kate, 78, 206, 222, 257, Saker, Annie, 286 

279 Saker, Miss E., 27s 

Rorke, Mary, 144 Saker, H., 107 

Rose, Annie, 108 Saker, Rose, 108 

Rose, Edward, 218, 285, 286 Salisbury, J., 92 

Rose, Edward E., 139, 227, 228 Salvini, Alexander, 62, 97, 142 

Rose, Harry, 234 Salvini, Tommaso, 83, 136 

Rosedale, 230, 231, 284 Sampson, William, 23, 84, 171 

Roselle, Amy, 16, 241 Sand, George, 6, 58, 106 

Rosemary, 231, 232, 233 Sandeau, Jules, 189 

Rosene, Charles, 101, 102, 103, Sanford, Eleanor, 234 

104 San Francisco, 45, 56, m, 175, 
Rosenfeld, Sydney, 19, 21, 245 225, 281, 287 

Rosier, J. A., 150 Alcazar Theatre, in 

Ross, Herbert, 279 California Theatre, 281 

Ross, Hope, 271 Metropolitan Theatre, 175 

Rostand, Edmond, 3, 75, 77 Santley, Fred, 223 

Rothschild, Baron Alphonse de, Saratoga, 238, 239 

189 Sardou, Yictorien, 88, 104, 105, 
Rousseil, Mile., 18 108, 109, 134, 272, 273 

Rowe, Bolton, 134 Sargeantson, Kate, 6 

Rowland, Ellen, 293 Saunders, Mrs. Elizabeth, 281 

Royal Family, A, 233, 234 Saunders, Westropp, 167 

Royce, Brigham, 95, 235 Saville, J. G, 57, 147 

Royle, H., 240 Saville, Kate, 263 

Royston, Arthur, 5, 216, 220 Savoy Theatre, New York, 185 

Royston, W. B., 268 Scallan, William, 101 

Riidd, Darwin, 9, 151 Scarlet Letter, The, 180 

Rupert of Hentzau, 234, 235, Schable, Robert, 240 

236 Schell, Hattie, 53 

Rush, Cecile, 53 Schonthan, Franz von, 210, 246 

Russell, Agnes, 279 School, 130, 132 

Russell, Annie, 23, 57, 59, 97, Schoolmistress, The, 4 

233, 234 Scott, Agnes, 253 

Russell, Fulton, 123, 259 Scott, Bessie, 198 

Russell, Harold, 233 Scott, Clement, 88, 134 

Russell, Hattie, 192, 226, 246, Scott, Cyril, 120, 125 

259 Scott, Gilmore, 96, 298 

Russell, Howard, 121 Scott, Grayce, 226 

Russell, R. H., 193 Scott, Rita, 198 

Russell, Sol Smith, 22, 23, 43 Scott, Walter, 100 

Russell, Tommy, 155 Scribe, Eugene, 224 

21* 



326 3tobq% 



Second in Command, The, 239, Simon, Charles, 297 

240, 241 Simpson, Palgrave, 164 

Second Mrs. Tanqueray, The, 4, Simpson, William, 226 

177, 216, 241, 242 * Sims, Albert, 128, 169 

Secret Service, 12, 243, 244, 24s Sims, George R., 152, 153 

Sedgwick, Francis, 57 Sinclair, Mrs. C. N., 176 

Sedley, Henry, 175 Sinclair, Florence, 179 

Seidl, Anton, 9 Sinclair, Henry, 247 

Selby, Charles, 174 Singleton, Anne, 20 

Seligman, Minnie, 97 Siraudin, Mons., 163 

Selten, Kate Pattison, 1, 98, 160, Sissons, William, 287 

219 Sittenrichter, Die, 27 

Selten, Morton, 1, 78, 98, 160, Skerrett, Edythe, 30 

218, 250, 251 Skerrett, Fanny, 92 

Selwyn's Theatre, Boston, 54, Skerrett, Mrs., 262, 285 

118 Skinner, Otis, 79, 80, 116, 117, 
Senator, The, 245, 246 168, 170 

Serrano, Vincent, 10 Skipworth, Alison, 7, 217, 27s 

Setchellj Dan, 196 Sleath, Herbert, 240 

Seven-Twenty-Eight, 246 Smedley, Mr., 109 

Seward, Emily, 147 Smiley, R., 21 

Seymour, William, 23, 80, 113, Smith, Albert, 74 

171, 257, 258 Smith, Arden, 162 

Shable, Robert, 227 Smith, Beaumont, 198 

Shaffer, Margaret, 137 Smith, C. Aubrey, 193, 194, 216 

Shaftesbury Theatre, London, Smith, Harry A., 279 

141, 181, 182 Smith, J. Alfred, 53, 92, 149, 
Shannon, Effie, 62, 90, 250 210 

Shannon, J. W., 89, 210 Smith, Mark, 124, 298 

Sharpe, Annette, 179 Smith, Percy, 240 

Shaughraun, The, 15, 247, 248, Smith, Mrs. Sol, 71, 72, 236, 

249 238 

Shaw, George Bernard, 12, 13, Smith, William B., 30, 90, 244 

14, 36, 85, 87, 193, 232 Smith, Mrs. W. H., 196, 262 

Shaw, Mary, 38, 270 Snyder, Matt, 287 

Shea, Thomas E., 35, 94 Snyder, Rose, 287 

Sheldon, Suzanne, 133 Society, 50, 204 

Shelton, George, 274 Somerset, C. W., 128 

Shenandoah, 249, 250, 251 Sophia, 256, 257, 258 

Sheridan, Emma, 93, 94, 211 Sorelle, William J., 133 

Sheridan, Grace, 55 Sothern, Edward A., 82, 83, 130, 
Sheridan, W. E., 17, 162 131, 132 

Sherlock, Mary, 118 Sothern, Edward H., 1, 78, 98, 
Sherlock Holmes, 251, 252 99, 133, 159, 160, 201, 203, 

She Stoops to Conquer, 198, 199 218, 219, 266, 267 

Shewell, L. R., 53, 104, 105, 231, Sothern, Janet Evelyn, 166 

281 Sothern, Sam, 218, 276 

Shirley, Mr., 121 Sothern, Mrs., 202 

Shore Acres, 236 Sounds, Martin, 198 

Short, Frank, 151 Speakman, Walter, 132, 254 

Short, H. Hassard, 240 Spear, Harry, m 

Shotwell, Marie D., 219 Spencer, Frederick, 156, 223 

Sidney, T., 182 Spencer, George Soule, 186 

Sienkiewicz, Henryk, 225, 226 Spiller, Emily, 179 

Sign of the Cross, The, 252, 253, Spinney, Lucy, 122 

254 Spong, Hilda, 7, 146, 276, 277, 
Silver King, The, 254, 255, 256 292 

Silver Spoon, The, 132 Squire, The, 258, 259, 260 

Silverstone, Joseph, 111 Standing, Ellen, 216 



Stofcer. 



3 2 7 



Standing, Guy, 69, 156, 158, 184, 

240 
Standing, Herbert, 150, 151, 264 
Standish, S. W., 149 
Stanford, Harry B., 113 
Stange, Stanislaus, 225, 226, 227 
Star Theatre, Buffalo, 129, 139 
Star Theatre, New York, 35, 

100, 145, 220, 242, 245, 250, 

251 
Stedman, Marshall, 1 
Steer, Janette, 151 
Stein, Geoffrey, 185 
Stephens, Robert N., 97, 98 
Stephens, W. H., 100 
Stephens, Yofke, 12 
Stephens, Mrs., 152, 214 
Stephenson, B. C, 88, 134, 135 
Stephenson, C. H., 69 
Stephenson, H., 178, 179 
Sterling, Mr. and Mrs. Arthur, 

61 
Sterling, Richard, 192 
Stevens, Edwin, 171 
Stevens, Emma, 90 
Stevens, Ogden, 127, 198 
Stevens, Sara, 73, 202, 279, 288 
Stevenson, Charles A., 95, 298 
Stevenson, R. L., 93, 94 
Stewart, Grant, 146, 217, 277, 

292 
Steyne, C., 259 
Still Waters Run Deep, 260, 261, 

262, 263, 264, 265 
Stirling, Edward, 160 
Stoddard, Lorimer, 126, 137, 269 
Stoddart, J. H., 48, 52, 107, 195, 

206, 214 
Stoddart, Mrs. J. H., 107, 197 
Stokes, Henry, 66 
Stonehill, Leonora, 32 
Storey, Jessie, 127 
Story of Waterloo, A, 265, 266 
Straggler of '15, The, 265 
Strand Theatre, London, 45 
Stratz, Rudolph, 71 
Stringham, Sadie, 288 
Strong, Frederick, 27 
Stuart, E. L., 71 
Stuart, James, 292 
Stuart, Jane, 245, 246 
Studley, J. B., 284 
Sturges, J. B., 66 
Sudermann, Hermann, 6, 167 
Sullivan, 82 

Sullivan, John T., 93, 188 
Sullivan, T. Russell, 93 
Summerfield, Mr., 22 
Sumner, Engle, 226 



Sumner, John R., 69, 159 
Sunken Bell, The, 266, 267 
Surrey, Imogen, 6 
Sutherland, Anne, 22, 298 
Sutherland, Birdie, 121 
Sutherland, Evelyn G., 28 
Sweet Lavender, 268 
Sweetland, Eugene, 137 
Sylvester, George, 184 
Sylvester, William, 225 
Sylvester, Miss, 214 
Sylvie, Miss, 210 

Tabb, Mr., 143 

Taber, H. S., 7, 217, 277 

Taber, Robert, 136, 226 

Talbot, Henry, 218 

Talbot, Mary, 242 

Tannehill, Frank, Jr., 126 

Tanner, Cora, 114 

Tapping, A., 34, 162 

Tarkington, Booth, 28, 29 

Tarleton, Ernest, 4, 37, 49, 127 

Tarr, Edward S., 101, 102 

Tartu ffe, 6 

Tarver, E. W., 178, 179 

Tassin, Algernon, 24, 71 

Taylor, E. F., 261 

Taylor, Longley, 235 

Taylor, Miss R., 109 

Taylor, Tom, 201, 202, 203, 260, 

261, 262, 265 
Tearle, Osmond, 89, 114 
Tempest, A. Vane, 79, 150, 151, 

216, 240, 241 
Temple, Rose, 104 
Ten Eyck, Kate, 157, ,252 
Tennyson, Alfred, 97, 142 
Tentation, La, 45, 147, 148 
Terric, C, 151 
Terriss, Ellaline, 4, 16 
Terriss, William, 15, 16, 161, 

200, 244, 247, 264 
Terry, Edward, 268 
Terry, Ellen, 35, 100, 101, 143, 

145, 200, 201, 263 
Terry, Fred, 5, 77, 194, 274 
Terry, Kate, 164 
Terry, Marion, 169, 180, 258 
Terry's Theatre, London, 268, 

269 
Tess of the D'Urbervilles, 269, 

270 
Tete de Linotte, La, 108 
Thackeray, W. M., 32, 44 
Thalberg, T. B., 150, 151, 291 
Thatcher, Carrie, 113 
Theodora, 108 
Thill, Helen, 298 




3 28 



3(n&c£. 



Thoman, Jacob W., 43, 101, 102 
Thomas, Augustus, 9, 10, 11, 12, 

155, 197. 198, 199 
Thomas, Berte, 279 
Thomas, Brandon, 268 
Thomas, E. W., 235 
Thomas, Gladys, 76 
Thomas, Jane, 251 
Thomas, Walter, 243, 244 
Thomas, Mr., 128 
Thompson, Blanche, 171, 212 
Thompson, Charlotte, 73 
Thompson, Connie, 101 
Thompson, Hallett, 185 
Thompson, Laura, 128 
Thompson, Lydia, 103 
Thompson, Miss L., 214 
Thompson, Theodore, 185 
Thompson, W. H., 7, 120, 121, 

156, 177, 234 

Thorndyke, Louise. See Louise 

Thorndyke Boucicault. 
Thome, Charles R., Jr., 45, 149, 

176, 280 
Thome, Fred, 193, 194, 223, 257, 

276 
Thome, Nellie, 39, 129, 207 
Thome, Thomas, 257 
Thornton, Florence, 9 
Thorold, W. J., 293 
Thorpe, Charles, 293 
Thorpe, Morgan, 57 
Thurgate, Lillian, 70, 159 
Thurlow, Lillie, 253 
Tidball, Gertrude, 294 
Tiffany, Arthur, 220 
Tindale, Mr., 204 
Titheradge, 6. S., 179 
Toland, Hugo, 298 
Toledo, Ohio 

Valentine Theatre, 223 
Toler, Sydney, 293 
Tom Jones, 256 
Too Much Johnson, 270, 271, 

272 
Toole's Theatre, London, 79 
Torrence, David, 292 
Tosca, La, 272, 273 
Townsend, Charlotte, 227 
Tracy, Helen, 7, 125, 132, 298 
Trader, George, 40 
Trafford, Mr., 204 
Tree, Beerbohm, 46, 47, 48, 

77, 78, 132, 141, 278, 279 
Tree, Mrs. Beerbohm, 46, 47, 

48, 128 
Tree, Ellen, 67 
Tree of Knowledge, The, 273, 

274, 275 



Trelawny of the Wells, 275, 276, 

277 
Tremont Theatre, Boston, 22, 

144, 220 
Trent, Gilbert, 169 
Trevor, Charles, 122 
Trilby, 277, 278, 279 
Triple Alliance, The, 224 
Triumph of the Philistines, The, 

177 
Trollope, Anthony, 91 
Trollope, G. A., 240 
Truesdale, Howard, 226 
Truesdell, Frederick, 38 
Tucman, Bertha, 289 
Tupper, Sheridan, 84 
Turner, Cicely, 279 
Turner, Mr., 233 
Turtle, Miss, 138, 200 
Twibill, Miss (Mrs. Flynn), 229 
Two Orphans, The, 279, 280, 

281, 282 
Tyars, Frank, 143, 162, 200 
Tyler, F. H., 220, 221, 232 
Tyler, Odette, 120, 121, 243, 251 
Tynan, Brandon, 227 
Tyndale, Eleanor, 225 
Tyranny of Tears, The, 282, 283 
Tyree, Elizabeth, 5, 7, 37, 49, 78, 

152, 217, 277, 296 
Tyrel, Mr., 233 

Ultimo, 39, 40 

Under the Gaslight, 283, 284, 285 

Under the Red Robe, 285, 286, 

287 
Under Two Flags, 287, 288 
Union Square Theatre, New 

York, 45, 61, 126, 148, 149, 

191, 280 
Urhart, Miss, 147 
Urquhart, Isabel, 123 

Vaders, Emma, 127 
Valentine, Sydney, 143, 285 
Valentine, Thomas, 157, 268, 269 
Van Benthuysen, Edith, 96 
Vanbrugh, Irene, 119, 151, 275 
Vanbrugh, Violet, 6, 79, 290 
Vandenhoff, H., 15 
Van Dresser, Marcia, 117, 137 
Van Duser, Susie, 137 
Vane, Charles, 32, 133 
Vane, Lilla, 251 
Vane, Miss, 138 
Vanity Fair, 32 
Varian, Nina, 39, 190 
Varieties Theatre, New Orleans, 
73 



gtoteje. 329 



Varrey, Edwin, 201, 225 20, 52, 55, 89, 95, 114. "Si 

Vaudeville Theatre, London, 88, 139, 140, 186, 205, 208, 214, 

174 223, 230, 247, 257, 262 

Vaughn, Susie, 129, 166 Waller, G., 233 

Verity, Agnes, 182 Waller, Lewis, 221 

Vernon, Mrs. George (Jane Waller, Mrs. Lewis, 270 

Fisher), 43, 52, 230 Wallis, Bertram, 5 

Vernon, Ida, 241, 243 Wallis, Gladys, 107, 246 

Vernon, May, 101 Walsh, Blanche, 7, 23, 69, 71, 
Vernon, W. H., 45, 219, 224, 244, 273 

274, 289 Walters, Augusta, 121 

Vernon, Mr., 109, 276 Walton, E. L., 32, 278 

Verre d'Eau, he, 224 Ward, Genevieve, 48, 113, 114, 
Versunkene Glocke, Die, 266 132, 143, 144, 224 

Vestris, Mrae., 42 Warde, Ernest, 29 

Vezin, Hermann, 35, 61, 164, Warde, Frederick, 117 

200 Waring, Herbert, 2, 64, 128, 138, 
Vicar of Wakefield, The, 200 219, 245, 285 

Victor, Mrs. M. A., 268 Warner, Grace, 88, 253 

Vincent, Eva, 20, 277, 292 Warner, Mrs., 136 

Vincent, H. H., 146, 216 Warren, Adelaide, 138 

Vincent, Mrs. J. R., 55, 61, 92, Warren, Rebecca, 1, 99, 266 

107, 118, 149, 201, 210, 212, Warren, William, 17, 43, 53, 55, 

231, 262 61, 92, 107, 118, 149, 173, 196, 

Vining, Emily, 108, 232 201, 209, 231, 249, 262 

Vining, Fanny. See Mrs. Ed- Warrilow, Maud, 253 

■ward L. Davenport Warwick, Henry, 66 

Vining, George, 16, 260 Washburn, Bert, 198 

Vining, James, 67 Washington, D. C, 2, 63, 78, 95, 
Vinton, Miss, 210 113, 120, 125, 156, 204, 297 

Vislaire, Miss, 147 Ford's Theatre, 204 

Viveurs! 58 Grand Opera House, 125 

Vivian, Dora, 254 Lafayette Square Theatre, 156, 

297 
National Theatre, 95, 120 

Wainwright, Marie, 105, 116, Waterloo, 266 

118, 137, 201 Waterman, Ida, 3, 32, 223, 243 

Waite, W, 152 Watson, Henrietta, 180 

Walcot, Charles (elder), 214, Watson, Ivan, 182 

215, 262 Way Down East, 288, 289 

Walcot, Charles (younger), 4, 7, Weaker Sex, The, 289, 290, 291 

49, 62, 217, 219, 268, 275, 277, Weatherly, Alec, 233 

295 Weathersley, Eliza, 104 

Walcot, Mrs. Charles, 5, 7, 37, Weaver, Blanche, 113 

49, 62, 146, 217, 268, 277, 295 Weaver, Henry A., Sr., 96, 198, 
Waldauer, August, 106 199 

Waldron, G. B., 80 Weaver, Joseph, 29, 86 

Waldron, May, 127 Webb, Berestord, 96, 287 

Walker, Charlotte, 95 Weber, J. L., 7 

Walker, Leonard, 225 Webster, Ben, 144, 241 

Wallace, Frederick, 66 Webster, Benjamin, 174 

Wallace, Lew, 38 Webster, Charles, 191 

Wallack, Henry, 160 Webster, George P., 279 

Wallack, James W., Jr., 35, 263 Webster, John, Jr., 127 

Wallack, Mrs. James W., Jr., 263 Webster, Miss, 128, 138 

Wallack, Lester, 52, 54, 89, 132, Weed, Robert, 5, 177, 181 

202, 203, 205, 214, 215, 230, Weir, Charles, 245 

231 Welby, Bertha, 278 

Wallack's Theatre, New York, Welch, James, 12, 231 



33° 



Sn&er. 



Welch, Miss, 144 

Weldon, Mortimer, 113 

Wells, Mary, 68, 118, 176, 202 

Wells, Venie, 111 

Wenman, Thomas N., ioi, 134, 

200, 201, 259, 264 
Wessels, George, 251 
West, Madge, 287 
Westcott, Edward Noyes, 83 
Weston, Frank, 39 
Weyman, Stanley, 285, 286 
Weyms, Julius, 251 
Whalley, W. H., 107 
Wharton, Belle, 211 
What Will He Do With It? 230 
Wheatcroft, Nelson, 62, 120, 295 
Wheatleigh, Charles, 68 
Wheelock, Joseph, 197 
Wheelock, Joseph, Jr., 69, 159, 

184, 185 
Wheels within Wheels, 291, 292 
When Knighthood was in Flower, 

25, 292, 293 
When We Were Twenty-One, 

293, 294, 295 
Whiffen, Mrs. Thomas, 5, 37, 62, 

146, 217, 268, 275, 277, 295 
Whiffen, Thomas, Jr., 274, 277 
White, Eugene, 7 
White, J. H., 260 
Whiting, David, 91, 115, 238 
Whiting, Joseph, 29, 97 
Whitman, Frank, 262 
Whittemore, H. P., 155, 269 
Whittlesey, White, 122, 123 
Whitty, May, 245 
Whytal, A. Russ, 127, 171 
Wickliffe, Florence, 294 
Wieder in Weissen Roess'l, 20 
Wife, The, 295, 296 
Wife's Peril, A, 134 
Wigan, Mrs. Alfred, 260, 263 
Wigan, Arthur, 260, 263 
Wigan, Horace, 132 
Wigley, Alfred, 279 
Wigley, Sadie, 279 
Wilde, Oscar, 146, 147 
Wilkesbarre, Pa., 22 
Wilkins, Marie, 125, 280, 281 
Wilkinson, E. H., 277 
Wilkison, W. M., 193 
Wilks, Edward P., 37, 165, 167, 

259 
Wilks, J. Egerton, 67 
Willard, E. S., 83, 141, 152, 153, 

182, 183, 220, 221, 254, 255 
Willes, John, 180 
Willett, Edwin, 292 
Williams, Arthur, 178 



Williams, Ettie, 253 
Williams, Eva, 36, 276 
Williams, E. B., 262 
Williams, Fred, 118 
Williams, Fritz, 4, 37, 49, 62, 

296 
Williams, John, 227 
Williams, Malcolm, 126 
Williams, Odell, 90, 125, 289 
Williams, Zenaide, 32 
Williamson, J. C, 15 
Wills, William Gorman, 99, 100, 

144, 200 
Wilson, Charles J., 38 
Wilson, Eva, 79 
Wilson, George W., 43, S3, 62, 

80, 93, 133, 154, 156, 211, 212, 

231, 248, 249, 257, 269 
Wilson, Tames E., 127 
Wilson, ICatherine, 24, 71, 293 
Wilton, Ellie, 127, 234 
Wilton, Henry, 244 
Wilton, Marie. See Mrs. Ban- 
croft 
Winter, Chalis, 29 
Winter, C, 233 
Winter, Joseph P., 198 
Winter, Percy, 225 
Winter, William, 28, 74 
Winter Garden, New York, 73, 

194 
Winthrop, Ethel, 66 
Wintner, Helen, 126 
Wise, Thomas A., 127 
Wood, Douglas J., 20 
Wood, Ella Hugh, 289 
Wood, Mrs. John, 73, 79, lai, 

169, 176 
Woodall, W. B., 218 
Woodruff, Henry, 48, 186, 206, 

244, 277, 293 
Woodthorpe, L. E., 293 
Woodward, George, 24, 64, 127, 

237 
Woolgar, Sarah, 174 
Workman, William, 69, 159 
Worley, Master, 152 
Worrell, William, 283 
Worrell Sisters, 285 
Worthing, Frank, 57, 59, 65, 

165 
Wright, Edith, 270 
Wright, G., 152 
Wright, Haidee, 253 
Wright, Harry, 66 
Wright, Stephen, 113 
Wright, Mrs., 285 
Wyatt, Carrie, 281 
Wyman, M. C, 235 



^nber. 



33 1 



Wyndham, Charles, 25, 49, 77, Yorick's Love, 296, 297 

83, 108, 150, 183, 231, 232, Yorke, Oswald, 240 

239, 263, 264, 282 Yorke, Mr., 170 

Wyndham's Theatre, London, 77, Young, Sir Charles, 140 

79, 151, 183 Young, Tames, 76, 122 
Young, J. F., 138 

Yardley, William, 271 Young, William, 38 

Yates, Edmund, 164 

Yearance, Ida, 91 Zaza, J26, 166, 297, 298 

Yonge, Frederick, 51, 204 Zola, Emile, 60 




. 26 1902 



